by:Larm News Saturday Feb 17th 2012

Oh boy, he can sing STATOIL GRANT • Hanne Kolstø • Den Svenska Björnstammen • beaten to death • autolaser • team me • Todd Rundgren • jonas alaska • SIMON REYNOLDS

2

SATURDAY FEB. 18th 2012

REVIEW

SOLE TO SOUL

EDITOR IN CHIEF Hilde Holta-Lysell EVENING EDITOR Håvard Holten EDITOR INTERNATIONAL CONTRIBUTIONS Wyndham Wallace EDITORS ASSISTANT Helge Brekkke PROOF READER Eivind Øygarden CONTRIBUTORS Text ASTRI BARBALA AUDUN VINGER Fanny Brekke Henrik Holta-Lysell Leena Ollikainen Henrik Richter Schie Kine Solberg Isabella Greffel Henriette Kverneng Johansen Øystein Rasmussen Line Elvåshagen Torbjørn Årsland Sean Erik Scully Ida Madsen Hestman Thomas Madsen Hestman Thomas Espevik Jenny Hval Phil Hebblethwaite John Doran Photo: Fredrik Klingenberg Carina Musk Andersen Atle Schie Helge Brekke Henrik Kihlstrand Glenruben Engen Larsen Jenny Solem Vikra Marie Gjestvang Sigrid Bjorebekkmo Mats Johannesen Patrick da Silva Sæther Frank Hesjedal DESIGN: brenneriveien.no PRINT: M:NO trykk COVER: JARLE BERNHOFT SHOT BY HELGE BREKKE STIFTELSEN BY:LARM FREDENSBORGVEIEN 24F 0177 OSLO TLF: 22036955 FAX: 22036969 EMAIL: INFO@BYLARM.NO INFO@BY:LARM.NO A SPECIAL THANK YOU TO ALL THE VOLUNTEERS THAT MAKES BY:LARM 2012 POSSIBLE

Thanks to our sponsors:

Hot-stepping it across town to witness a Norwegian lover man.

Text: PHIL HEBBLETWATE Photo: HELGE BREKKE

O

Oh, wait. “If you can only speak English, listen in – you need to dance.” Okay, brother! On this next song, I’m hearing Bill Withers, Marvin Gaye and, er, Bruno Mars. Bernhoft’s got very natural flow and rhythm. I’m enjoying myself, but I’m not yet dancing. He’s a strong guitar player, too.

1

8

This is nu-soul music that should be played by a full band. But there’s no band, just Bernhoft on either acoustic guitar with a few effects, including a loop pedal, or piano.

Thanks to our PARTNERS:

4

h the joys, excitement and plain arsecheek-clenching horror of working on a daily newspaper where you can’t even begin to write your stories until deep into the night, right before deadline. And so it is that a text message conversation between me (a British journalist in town for By:Larm) and the international editor of the paper, Wyndham Wallace, goes something like this … at 9.15pm.

Wyndham: “Can you step in and cover Jarle Bernhoft at Rockefeller at 9.30.”

Me: “Fuck. Never heard of him. Not written my Field review yet either. Any other takers?”

Wyndham: “Sorry to throw this at you, but they [the Norwegian editors] need an international perspective.”

Immediately, there are problems. It’s 15 minutes later and I’m outside Rockefeller.

Full capacity, massive queue, and the bouncer’s not budging.

“But it might be the paper’s cover story.”

Amazingly, he relents. I’m in. And it’s packed. Clearly, Jarle Bernhoft is humongously popular.

Then sets in the horrible, cloying fear that it’ll be impossible to do this show, and this musician, justice. I have never heard of him – not one song. And so what follows, in order, is a list of inane, knee-jerk reactions to a man who hopefully doesn’t have the kind of fans that wage violent campaigns against poorly prepared and idiotic reviewers.

2

He’s singing ballad ‘Stay With Me’ and, oh boy, he can sing. There are drops in the song and the ladies in the audience scream. Really, there’s little else worth saying. If you’re a male soul singer with drops in your songs that are filled by the screams of women, you’ve absolutely got it made. Who needs music journalists!

3

I decide to leave.

5

I’ve worked it out, I think. Jarle Bernhoft is Norway’s Jamie Lidell, the Warp-signed British electronic artist who suddenly stepped out from behind the walls of gadgets and became a hugely successful trad. soul singer. There’s detail in the production of Bernhoft’s music that’s similar to Lidell’s, and who the hell cares for authenticity. If we, the Brits, can have our soul stars (see also Adele and, of course, Dusty Springfield), you Norwegians can have yours.

6

Bernhoft has a slightly annoying tendency to get up from his stool and take a bow after most songs. Patently, he likes to lap up the attention. And, besides, he shouldn’t even be sitting on a stool.

Makes him look lazy.

7

Uh oh, alarm bells – a cover of ‘Shout’ by Tears For Fears. You know the song: “Shout, shout, let it all out, these are the things I can do without.” Not sure about this. This is the song I could do without.

Ah, that’s it. Show over. It was actually really fun: polished, clean and expertly executed nu-soul with a classic feel performed by a charismatic loverman who is definitely going to get laid tonight, the bastard.

I walk back to the hotel and try the random word generator on my phone’s dictionary.

Cordate: heart-shaped.

Perfect!

Filiopietistic: of or relating to an often excessive veneration of tradition.

Also good.

Who indeed needs music hacks.

AND TOMORROW HE CAN WIN 1 MILLION NKR – turn ->

REVIEW

SATURDAY FEB. 18th 2012

3

4

INTERVIEW

SATURDAY FEB. 18th 2012

STILL ROOTED Jarle Bernhoft seems fairly happy about the state of things, and with good reason.

THE EARL OF OSLO: ”Becoming this big was never part of the plan or my ambition, says Jarle Bernhoft.

Text: Henrik Richter Schie Photo: Christian Belgaux

STATOIL GRANT 2012, SATURDAY, 19:00, FOLKETEATERET

H

e’s in a position most musicians can only dream about. He’s selling records, playing sold out venues and earning rave reviews all over the place.

Things are definitely moving in the right direction, and fast.

Almost too fast. But as long as it’s fun, everything seems possible.

FOR THE CROWD Bernhoft means the by:Larm festival has changed through the years, and luckily for the better. He draws comparisons to Manchester’s In The City, a festival he sees as a lodestar for industry-focused music events like this. ”I remember playing by:Larm three years ago and it was a great feeling. Partly because I experienced it, in contrast to how I first experienced the festival a few years earlier, as one for the audience and not just the industry anymore. I feel that by:Larm now take their audience very seriously, and that’s a really important part of a good festival.”

This year is by:Larm’s 15 year anniversary, and Bernhoft recalls the impact by:Larm

has had on many bands’ rise to success. ”I also notice that by:Larm has become not only a display window for new bands, but a promotional tool for more established artist as well. ”Like myself” he says with a laugh. ”Another reason it works so well is that it’s all happening within such a small part of town. Nothing is too far away, and all of the concerts are within walking distance of each other. It’s a typical big-city festival, but they manage to keep it all connected.

Oslo in February is not a place where you would want to spend too much time outdoors anyway.”

THE DEVIL’S ADVOCATE Tonight, Bernhoft is one of ten nominees for the annual Statoil grant of one million Norwegian kroner. ”I’m really excited, of course, but – to play the devil’s advocate for a minute – I think people like Team Me could use the money more than I do, as they have more people and all that. It depends on how the committee thinks. If they want to invest money in a longterm project and want the money to last, then I’m a good candidate, but if they want to really push someone to make their vision come true, then maybe Hanne Hukkelberg could be a wise choice.

She travels with a big band and needs the money to support this. I usually travel completely alone and don’t even need to pay for extra luggage on the plane. I’m an

inexpensive little company, but imagine what that much money could do for me. It would probably last me 3 years or more.”

BUYING A STAKE? Last year he received the Music Export Norway grant, but before this he was already starting to make waves abroad. He explains how the grant makes it possible to take his live show to a new level in ways that wouldn’t be possible without support. ”To return to a country you’ve played before, but this time with a new addition, such as lights: that could be the thing that sets the show apart from the last one and make it more interesting.” ”If I won the Statoil grant, I have been thinking about buying a stake in Statoil with the money and appointing Kråkesølv and Synne from Team Me to administer it. That way they could use that influence to change it from the inside. I don’t know if it’s allowed or if they would accept the offer, but it could be a smart move.”

NOT A PART OF THE PLAN The next big thing on Bernhoft’s horizon is definitely his upcoming concert at Oslo’s Spektrum.

It’s a huge step for any Norwegian artist to be able to play there, and it was partly to test himself that he said he wanted to do it. Another part of it was his ambivalence to selling out shows, which always means

that there are good people not getting in.

Playing a show at Spektrum was supposed to prevent that from happening, but the way it looks now, it’s going to be another sold out night.

Bernhoft refers to a story about The Police: ”After playing one of the biggest stadium shows of their career in 1985 or so, they looked at each other and thought, what’s the next step now that we’ve come this far?

After that they just couldn’t do it anymore.

Maybe this is the beginning of the end for me too. I don’t know.” ”Becoming this big was never part of the plan or my ambition, but I don’t see it as a negative thing. My ambition is to be able to play regularly to a good crowd, but whether it’s in a small club or on a big stage is not that important. If it gets too big I lose contact with the audience, and that doesn’t feel right to me. It would be weird if I were alone on stage in Spektrum, so luckily I’ve brought a 12 piece band this time. Bringing other musicians into the whole thing has changed it a lot, and for the better. Music is all about communication and when I’m alone I try to involve the audience in a way, but the great thing with a band is that there are other people adding their edge to the music. The others do such a great job that I just lean back and let it happen. It has allowed me to dance around and shake my hips, things you can’t do when you sit and play like I have for a long time now.”

INTERVIEW

SATURDAY FEB. 18th 2012

Statoil i samarbeid med by:Larm presenterer 5-årsjubileum for utdeling av Statoil-stipendet

Live konsert Mathias Eick

Ida Maria Ingrid Olava

Kvelertak

Folketeateret Lørdag 18. februar

Vi støtter morgendagens helter

5

6

SATURDAY FEB. 18th 2012

REVIEWS

Siinai (FI)

Turboweekend (DK)

Highasakite (N)

Mono, 08:00 PM

John Dee, 11:00 PM

Herr Nilsen / Østkanten bluesklubb 08:00 PM

One of the odder things about by:Larm is the emphasis it places on an act’s geographic roots. Nordic Music Prize nominees Sinaii are from Finland, and one’s initial response is to question whether it’s therefore acceptable for them to play a music so tied up with Krautrock. But, hell: you can drive in a straight line there as well as on an autobahn, and their mix of motorik rhythms and space rock is more than convincing.

Having a second drummer puts even more gas in their tank too, proving that sometimes one chord can be enough - and that, whatever Bono might say, there’s no need for the truth - if it’s played loud and long enough to burn a hole in the PA. Of course, they splash out occasionally by throwing in a few melodies for good measure, and their sense of dynamic climaxes makes for a dramatic half hour, even if perhaps a longer set might outstay its welcome. But if Kraftwerk had been stoner truckers with flashing lights on their dashboards, this is what we’d have heard.

They’ve recently been awarded for being the best danish liveact at the Danish Music Awards. Last night’s act didn’t give any doubt about that. Turboweekends creativity and greate energy merely gives an extra injection of adrenalin to the blood.

Their performance at John Dee yesterday gave the night a new beginning - from the shaking tamburine - to the satisfying bass - through the explosive drums - to the great energy that vocalist Silas Bjerregaard performs on stage. Despite the fact that the evening took its tall, the mind automatically made room for this beautiful mix of something similar to Superfamily and the Killers. But where the latter gave after for the mainstream audience, I would say that Turboweekend is far more exceptional than the Killers. The energy never stopped which also reflected the crowd. ”Trouble is” and ”Something or nothing” made the most delightful scores that night. You wouldn’t believe they where only three people on stage. Turbo performance.

A lot of people apparently took notice of the pre-festival buzz surrounding Highasakite, because the cue stretched 20 meters outside the small venue Herr Nilssen. Sound-wise, the band could easily appear to hail from Iceland. With the use of violinbow on guitar from Sigur Ros and basslines from Björk they sounds like they were musically fed and bred in the country of the elves. The melodies of their light pop/rock however, send your thoughts to blown away stretches of the Norwegian highlands. The well balanced harmonies are a delight to listen to. The visual show on the other hand could use some improvements. Vocalist Ingrid Helene Hårvik’s shyness and lack of contact with the crowd unsettles the balance between the wonderful melodies and the visual performance. Some more live shows will more than likely fix this problem though.

Highasakite does not bring anything revolutionary to the table, but still stands out today as one of the more experimental Norwegian pop/rock bands.

by: Wyndham Wallace

By: Ida Madsen Hestman

By: Øystein Rasmussen

Photo: Patrick da Silva Sæther

Photo: Marie Gjestvang

Photo: Henrik Kihlstrand

Prinspolo (ICL)

Scarlet Chives (DK)

AutoLaser (N)

Revolver, 08:30 PM

Rockefeller annex, 08:00 PM

Dattera til Hagen, 09:00 PM

Behind one of his many crown-shaped paper masques, some of you might recognize Prinspóló as Svavar Pétur Eysteinsson, frontman of the Icelandic act Skakkamanage. Despite his arty-crafty head piece, Prinspóló is just a down-to-earth singersongwriter writing and singing about the trivial matters in life, like spaghetti bolognese, chicken and his favorite soccer team. His songs are catchy, fuzzy and spot on indie. It’s a shame, though, that the lyrics are incomprehensible for the non-Icelandic speaking crowd (which sometimes may come in handy).

The show displayed an array of musical genres, from classical to post-rock with elements of shoegaze, a combination which for the most was pleasant indeed. Nevertheless, with all the jokes and sometimes long stories in between the songs – including the coronation of a member of the audience – in his charming, slightly broken English, it was difficult to differ the prince from a stand-up comedian with musical talent.

Danish sextet Scarlet Chives open their set with a march-like beat, contrasted by the rolling, angular vocal lines of vocalist Maria Mortensen. The vocal and instruments float in and out of each other, creating a complex, yet beautiful, chaos.

Live, the band is louder than on their eponymous debut album (about to be released in Norway via Riot Factory). But the poor sound of the Rockefeller Annex PA makes the band more introvert, each instrument buried under the mass of the others.

The band still shines when Mortensen’s vocal and the band’s instruments intertwine like a set of antique furniture – shiny, worn and unpolished, as on the beautiful “Don’t Put Your Hands There”. But as the set comes to a close, their dreamy shoegaze crescendos turn out to be the problem – Scarlet Chives build songs from blocks of beautiful chord changes, and sound like they’ve fallen in love with the melodics instead of risking making something less pretty, but more their own.

By: Jenny Hval

Despite there being three pictures on his Myspace site, few associations arose when the anonymously dressed man with a white glassy mask and a black hood entered the stage. His impression is rather minimalistic - in contrast to his music.

Autolaser has been buzzed about for creating music which is dancefloor-friendly and easy listening at the same tie, and he has been compared to «big guys» like Skrillex and Deadmau5.

He stated on Facebook «DON’T FUCK WITH LASER. DON’T FUCKIN CALL ME DUBSTEP. FUCK YEAH!» Surely it isn’t pure dubstep. It’s delicate. It’s catchy, powerfully rhythmical. It’s lasermusic. You want to dance spontaniously.

Or do like me - close your eyes and dream of a world of bubbles and strobelights, when Autolaser is manifesting his tunes from his box of knots. The tunes are playful. Autolaser shows off his creative skills in mixing pop tunes with his original twist. For a while I recognized some Daft Punk’ism in there. And some dubstep. Which kicks ass.

Photo: Atle Richter Schie By: Sean Erik Scully

By: Ida Madsen Hestman

Photo: Marie Gjestvang

Photo: Henrik Kihlstrand

REVIEWS

SATURDAY FEB. 18th 2012

Ask Embla (N/S)

Machine Birds (N)

Mugison (ICL)

John Dee, 09:00 PM

Nokia teltet, 09:30 PM

Sentrum scene , 09:00 PM

If you miss the 90s, love going out dancing and prefer listening to commercial radio, Ask Embla is right up your alley. «Winter» is destined to be a club wrecker, and also has the potential of becoming next years Russ-anthem in Norway. Whether you like it or not, it is apparent that they know what they are doing, and their record states this clearly, considering the fact that they previously have produced for artists such as Britney Spears, J-Lo and Shontell. This Swedish and Norwegian duo consists of Arnthor Birgirsson (originally from Iceland) and Ina Wroldsen, respectively. Their band name gives reference to the Old Norse-tradition, as Ask and Embla are the ancient Nordic equivalent of the biblical Adam and Eve. Although they have not created music in a new and innovative way, they have definitely taken advantage of the 90s revival, using it for all it is worth. And it still works – you will probably end up dancing.

Machine Birds start off with a synth instrumental part that evoke associations back to the late 70s, early 80s. The intro soon bends into their first single ”Time”. A bold move to start with their best known song, but it works. They have our attention and they take advantage of it well. Although the stage is far too big for just two young girls, the music fills the empty space and soon don’t mind it. The songs are more electronic live, and they only use keyboards and a loop station to loop vocals. The cute and girly voices match the darker beats and the combination sounds good. Some songs would fit better in a more intimate setting. It’s definitely the more pop focused songs that work best in this live setting, but overall they present us with a great show. I was surprised to see how nothing seemed to be preprogrammed, beats and all done live and looped. Not a common thing in our day and age.

7

Dressed like an English country squire, Iceland’s Mugison has certainly changed a lot from the man whose first record was contained in a hand stitched CD case and released by electronic maestro Matthew Herbert’s Accidental Records. Nowadays he’s ditched the MacBook that used to back his acoustic guitar in favor of a three piece band who rock like AC/DC playing Rolling Stones classics. At times that admittedly means they sound like Jet, but we’re putting that to one side since songs like Mugiboogie offer a swagger that Bobby Gillespie would hand over a year’s drugs stash to copy. He’s also overflowing with charm, telling a rambling story about Norwegian fish and German porn that reduces his audience to helpless laughter. He’s less successful getting the ladies to participate in a singalong, but moments later has the crowd howling like a wolf. So entertaining is he that it almost overshadows this witty take on blues rock. It doesn’t, though. Mugi Nights rule!

By: Henrik Richter Schie By: Isabella Greffel

Photo: Atle Richter Schie

Photo: Patrick da Silva Sæther

By: Wyndham Wallace Photo: Helge Brekke

The Field (Solo Live Set) (S) Kulturkirken Jacob, 08:00 PM

Dark Times (N) Sub Scene, 07:30 PM These are dark times indeed for alternative rock with many slack copyists such as Yuck and Wavves willing to participate in the creatively moribund exercise of grunge revivalism. Stripping it of the little militancy and honest introspection that it originally had, they have reduced it to repugnant frat house rock for feckless ironists in Garfield T-shirts. Sign posting a much healthier alternative is Oslo’s noise rock scene which centers around overlords Arabrot and newer talents such as Deathcrush, Haust and Okkultokrati. The latter two bands run a label called Ormeyngel which they use to promote local acts, the newest of which is raucous no wave punks Dark Times. The trio’s short set tonight features three tracks from their recent self-titled 7” on the label, Distrust, Shallow Breather and Fakes. Kim Gordon, The Wipers, Pussy Galore and Babes In Toyland are obvious touchstones to a ragged and righteous - if occasionally nerve-wracked also - band to keep your eye on.

By: John Doran Photo: Carina Musk-Andersen

Celebrated Swedish electronic artist The Field, who really should make music under his own name, being that it’s Axel Willner, recently told UK music paper The Stool Pigeon, “I was so tired of doing this by myself, travelling and playing.

I also felt locked with a computer and I couldn’t really take it where I wanted to.” Shame, then, that tonight he’s playing alone again (i.e. not with his band), albeit in the beautiful Kulturkirken Jacob. It is, in fact, the church that becomes the star of this show, because, as Willner understands, there’s nothing less interesting than a live experience comprised of watching a single man leaning over gizmos and gadgets, never once glancing up. And so we either close our eyes and drift away into our own invented worlds, or look up and around this grand building to find maximum enjoyment from this now Berlin-based producer’s looped, trancey and deeply hypnotic music. Oh wow! Lots of people have left Kulturkirken while I was away with the fairies.

By: Phil Hebbletwaite Photo:

8

SATURDAY FEB. 18th 2012

REVIEWS

ÅRETS

Det skjer hvert år – at en artist får sitt gjennombrudd under by:Larm. I år skal dette virkelig markeres. Norsk Tipping har gjennom flere år vært sponsor og samarbeidspartner for by:Larm, og nå skal vi sammen med en jury bestående av konsertarrangører tilknyttet Norsk Rockforbund kåre årets gjennombruddsartist – . Vinneren får opplagt nok en turnébuss til disposisjon i fem dager. Juryen vil følge buzzen under by:Larm – både på konsertstedene, i media og på sosiale flater.

Du kan påvirke resultatet ved å tvitre om den artisten du mener fortjener ekstra oppmerksomhet og hjelp til å komme seg ut på veien.

Norsk Tipping bidrar til å utvikle unge norske musikktalenter gjennom støtte til musikkbinger, Frifond og turneer i regi av Den kulturelle skolesekken.

Hele overskuddet fra Norsk Tipping går til samfunnsnyttige formål. Bare i fjor fikk norsk kulturliv tilført 1250 millioner kroner fra spillemidlene.

Norsk musikk blir bedre hvis du spiller.

Vi gir drømmen en sjanse

INTERVIEW

SATURDAY FEB. 18th 2012

F F U T S T H G I THE R E H T H T I W D W O R C T H G I R rent friends in Put diffe mail, e o t s p u o r different g m all in one go e h t t x e t r o M I

facebook.com/nokianorge

COMPETE AND WIN IT! © 2011 Nokia. All rights reserved. © 2011 Microsoft. All rights reserved.

9

10

SATURDAY FEB. 18th 2012

REVIEWS

Pirate Love (N)

Hymns From Nineveh (DK)

Last Train , 11:00 PM

The Crossroad Club, 08:30 PM

Last Train is the perfect place to experience Pirate Love. It’s just as dirty, sweaty and beerinfused as the band itself, hopefully soon to be just as legendary as this venue. Last Train is small, and almost always packed. Tonight is no exception, and we squeeze together, trying to get a glimpse here and there. Not too long ago the band released their second album “Narco Lux High School”. We are served a raw live experience tonight, but they also manage to maintain the dusty vibe you find on their record. It’s a good mix of punk and garage rock. Boasting with energy they give a great show, and play through quite a few songs in the short time they have. Vocalist David Dajani is as always a weird and funny character, moving manically around the small space on stage. Wearing a blonde wig, a baseball cap and a cape he’s the center of attention at all times, dancing and headbanging in equal measures. But this never overshadows the collective performance, one that was damn good.

”Hymns” by Nineveh were one of last year’s big sensations in Denmark. Their album has received several awards, and it’s great to hear them transform their music so well into a live show. With six people on stage all playing at the same time, the sound is more upfront and compact live but it fits the music just as well as the more laid-back album versions. They are a charming group of people and smile most of the concert, even as they play ”Sister Sorrow”.

This is folk-pop at it’s finest. Their use of banjo and fiddle add details that make them stand out from comparable bands. Add that to material that is strong already, and it’s no wonder they’ve made such an impact over the last year. The music flows naturally, from soft and tender, to rocking folk in no time. This was a pleasant surprise. Again, half an hour seems a bit short to fully appreciate the feeling they try to establish, but it’s a sweet starter that makes you long for the main course.

Heart-on-sleeve: Samsaya fills the gap of a cancelled Little Majorette show at mono, with the stuff that has become her trademark: a raw comtbination of violent bass and ruthlessly honest lyrics.

Photo: Grenruben engen

By: Henrik Richter Schie

Prinspolo (ICL)

By: Henrik Richter Schie

Cody (DK)

Simen Tangen (N)

Herr Nilsen / Østkanten bluesklubb 11:00 PM

Nokia teltet, annex, 10:00 PM

John Dee, 11:00 PM

Saturday City is a duo comprised of brothers Stian (Death by Unga Bunga) and Magnus Gulbrandsen from Moss. They began to play together as a duo a couple of years ago, after having been in a variety of bands. Their show at Herr Nilsen didn’t start out as impressive as one would have hoped for. The duo never seemed to tug on the heartstrings of the crowd, as many people still were talking after the concert had started.

At the forth song, Elvira Nikolaisen came onto the stage and changed that. She got everyone’s attention and did a stunning performance of a slow folk-country-song with the two brothers in Saturday City.

The rest of the concert continued in the same track as it started. Some of the melodies were quite good, but the performance didn’t live up to the material. From two guys each playing a guitar, you would expect more passion and more presence. It was all in all difficult to believe the stories they sang.

Cody is probably one of the most interesting and critically acclaimed acts out of Denmark to partake in this year’s by:Larm. Friday’s show being their first in Norway, they have already opened for bands like Band of Horses, The National and Bonnie ’Prince’ Billy, toured all over Europe, including of course Roskilde; the Danish showcase festival Spot.

Give Crosby, Stills & Nash some modern beats, invite Mogwai and Ryan Adams to the party, and there you have Cody. The critics are right in many ways, Cody is indeed very good – the cooperation between the guitarists being an example of this high quality. But, as you might have excepted, they don’t play songs that instantly stick to your brain, it takes time.

On the flip side, once they’ve gotten to you, there’s no way back.

If you missed out on this concert, don’t worry, they’re playing on Herr Nilsen / Østkanten bluesklubb Saturday at 9:00 PM! Judging by the size of the crowd today, you better come a bit early.

Saturday City (N)

By: Thomas Espevik

The name Simen Tangen has for a long time been a murmur in Oslos underground rock scene: The guy with the beautiful songs.

This was my first encounter with him live.

Only accompanied by his acoustic guitar, duet partner Silje Høgevold and occasional percussion from Kjetil Tangen, Simen Tangen made this a very pleasurable first meet.

Sometimes it is hard to describe music with words, and most times this is a good sign.

Simen Tangen does not operate in an obscure genre, and he hasn’t got a conceptual stage show based on greek mythology. He is just a really, really good pop-songwriter, and to hear him play is both moving and a “had to be there”-experience. On Saturday he will be playing with a full band, and my guess is that it will be one of the finest moments that yellow bracelet can give you.

By: Kine Jeanette Solberg

Revolver, 08:30 PM Behind one of his many crown-shaped paper masques, some of you might recognize Prinspóló as Svavar Pétur Eysteinsson, frontman of the Icelandic act Skakkamanage. Despite his arty-crafty head piece, Prinspóló is just a down-to-earth singer-songwriter writing and singing about the trivial matters in life, like spaghetti bolognese, chicken and his favorite soccer team. His songs are catchy, fuzzy and spot on indie. It’s a shame, though, that the lyrics are incomprehensible for the non-Icelandic speaking crowd (which sometimes may come in handy).

The show displayed an array of musical genres, from classical to post-rock with elements of shoegaze, a combination which for the most was pleasant indeed. Nevertheless, with all the jokes and sometimes long stories in between the songs – including the coronation of a member of the audience – in his charming, slightly broken English, it was difficult to differ the prince from a stand-up comedian with musical talent.

By: Sean Erik Scully

By: Sean Erik Scully

Casual Friday (N)

Lumeet (FI)

Anja Elena Viken (N)

Gunnhild Sundli (N)

Sub Scene, 09:30 PM

Jaeger, 10:00 PM

Revolver, 09:30 PM

Sentrum scene, 10:00 PM

‘Fuck Bernhoft. Thanks for ditching him for us.’ Though said with humor, the words from the stage fit Casual Friday’s profile. They’re hungry, they’re energetic and they dress smart.

The six-piece from Tønsberg are soon to be sent on a 15 gig tour all across Norway, as the winners of the Zoom Tour 2012. Let’s get this straight: They’re not inventing something new.

They play straight forward British guitar rock and they want you to get on your feet. The festival’s only non-alcoholic venue, Sub Scene, is not the most likely place you’ll see some Norwegian booty shaking, though. Kudos to the band for giving it their best shot. Their song “Give Them All” is very fitting in that regard. “Leaves”, an intense picnic in Maxïmo Park, is a very catchy little thing. Can Casual Friday add something to the Norwegian music scene, or are they just ten years late? It’s too early to say, but that Zoom Tour will surely do these eager young lads plenty good.

The artist name Lumeet holds connotations to an exotic, velvet-dressed Indian chick. But in real life, the Finnish producer and musician is named Väinö Ala-Härkönen - a strange looking guy with hair that looks like he’s been involved in some electro-shock experiment and thereafter painted bold, green lines underneath his eyes, looking like some kind of warrior paint. Like a nutty professor, he looks energetic and shows great passion for his music.

The floor in the basement at Jaeger is pretty crowded, and the atmosphere is like that of a usual night at Jaeger. Unfortunately. You get the feeling that you’ve heard the music before, without quite remembering where from.

Chilly grooves meet samba drums, meet the much praised 80s synth. I suspect Lumeet for having played video games too much lately, which would explain how tune sounds like a video game soundtrack. The response from the audience is pleasant. Not quite impressed, but it’s the usual night out at Jeager. And that’s OK.

In Norway you don’t hear much about the rivalry between the West- and East-coast music scenes. That’s because Anja Elena Viken has already won the war before it begun. The sweat venue of Revolver was the perfect place for this fresh urban artist. Sweet innocent piano pop crashes with hip-hop lyrics written in slang from the West coast of Norway. Melodic harmonies combined with lyrics from “the hard life” of a teenager living in a relatively small and safe city in Norway works. Anja has a crisp and tender voice which gives credibility to the lyrics.

After a couple of songs alone on the piano, the backing band joins, and then the party starts.

A party that makes the crowd feel just as royal as Queen Anja herself. Anja the artist has only been known to the public for some months, but she has the self-confidence of a much more experienced performer. With a couple of more songs added to her repertoire, she will definitely partake in the new wave of talented musicians coming out of Bergen.

Gunnhild Sundli is probably capable of mesmerizing every single living creature.

Considering her red dress and her curly blond hair, one could ask if she is actually Huldra – the seductive forest creature from Norwegian folklore. To most people she is previously known as the vocalist of Norwegian folk/ rock-band Gåte. In addition to her musical career she is also an actress. And both her music and acting are based on a Norwegian cultural heritage, spanning from Old Norselyrics adapted into progressive folk rock, to plays by Ibsen. This is also where she picks up as a solo artist, solely singing in Norwegian.

Her backing band, consisting of altogether six persons, underlines Sundli’s enchanting and mesmerizing touch with dramatic and chanting drums draped in subtle keys- and guitar arrangements. If Ane Brun was magnificent on Thursday, Sundli was magnificent this Friday, as she carries on where Mari Boine left last by:Larm, leaving us all in great awe with her new single “Gi Meg Fred”.

By: Ida Madsen Hestman

By: Øystein Rasmussen

By: Isabella Greffel

By: Torbjørn Årsland

REVIEWS

SATURDAY FEB. 18th 2012

Den Svenska Björnstammen (S) Jaeger, 11:00 PM The Swedish pop-ensemble, consisting of supposedly seven members (it was not at all possible to get a good view at a packed Jaeger), resembles bands such as “The Polyphonic Spree”, “Architecture In Helsinki” and fellow Swedish band “I’m from Barcelona”. Although they, in contradiction to their mentioned references, prefer singing in their mother tongue, they seem to carry on these other bands’ mission; making people happy and asking them to dance. Even so Den Svenske Björnstammen is somehow a bit confusing. There is no doubt that their sole intention is to give their crowd a good time, making people happy and wanting to dance, but

the problem here is how they are going to convince you to step out on the dancefloor; constantly changing from techno/ house-esq beats to Balkan beats, and whatever comes in between. Den Svenska Björnstammen should decide upon an expression, and if my opinion counted it would be to evolve the jug band-style from the hit “Var Jag Mig I Världen Vender”.

By: Isabella Greffel Photo: Henrik Kihlstrand

11

12

PLAYING TONIGHT

SATURDAY FEB. 18th 2012 JAKKA

Grat i s i nn på by : l a r m 2 0 1 3

a l le jakker er nummerert

halv pri s på by:l armpass 2 0 1 2

kvali te tsp l a g g

kulhet sgrad: 9 ,7

fi n n e s k un 2 0 j a kker

HAR DU FÅTT TAK I DEN OFFISIELLE BY:LARM-JAKKA FOR 2012?

Dette er den offisielle nummererte by:Larm-jakka. Når du kjøper denne jakka får du halv pris på by:Larmpasset for 2012, du kommer gratis inn på by:Larm i 2013 og du er med i trekningen av av et års gratis WiMP (Finnes 10 stk WiMP-abo. - 50% sjanse for å vinne). Jakka og flere andre produkter finner du i Resterödsbutikken i by:Larm-teltet og ved akkrediteringen.

Det finnes totalt 20 jakker for salg, samt hettegensere, t-skjorter og luer - alt i limited edition.

Produktene er produsert av Resteröds for by:Larm og for å kikke på produktene klikker du deg inn på resterods.com/bylarm.

resterods.com/bylarm

thursday REVIEWS

SATURDAY FEB. 18th 2012

Siri Nilsen (N) Nokia teltet, 10:30 PM Siri Nilsen enters the stage so softly that the audience is taken by surprise when she starts singing. When she does, it’s captivating from the first tone. Her voice is cute and strong at the same time, a crucial quality for an artist in her genre. Her songs are short and feelgood like pop songs should be, but they also touch a nerve in ways most singer-songwriters only aspire to achieve. The six piece band complement her well without taking up too much space, and she’s without a doubt the star of the show. I’m sure you don’t even have to understand Norwegian to smile when she talks. When she ends the show with the song ‘Alle snakker sant’ from her last album by the same name, there are sing-a-long tendencies in the crowd. Everyone in the audience is charmed by this little woman smiling at us. But it’s not only charming, it’s also very good, make no mistake about it. Her playing ukulele on most songs also feels a lot more natural than you’d think.

By: Henrik Richter Schie Photo: Frank Hesjedal

Korallreven (S)

Sisi (N)

Stratos, 09:30 PM

John Dee, 08:00 PM

13

Thulebasen (DK)

Les Big Byrd (S)

Rockefeller annex, 08:00 PM

The Crossroad Club, 11:30 PM

Thulebasen is a Danish experimental rock band, mashing classical and psychedelic rock with electronica, resulting in something they label as “future rock”. Caged inside the narrowness of what may seem like an unpleasant trip to the future at the Annex, the two guys and girl (on drums, mind you) were doing their best, at least visually, to succeed in giving the few attending a show for their money. They had their modest share of impressive musical moments, too, like during Kylling and somewhere out in Gate 5, but unfortunately not many enough to whet the appetite. For most of the show it was like listening to a perfect tune of The Swans, only torn to bits and randomly glued back together again, with an added pinch of Jimi Hendrix.

All in all, the band’s performance was by no means mediocre. They were enthusiastic on stage and keen on speaking to the crowd.

Besides, Thulebasen is set to perform a couple of times in Oslo in the near future, maybe they’ll be more convincing then?

The aliens have landed. Luckily, they come in peace. And they’re here to rock our asses.

Mystery band Les Big Byrd enters the stage with kryptonite rings and cyber-goggles blinking in red, green and blue, wearing hooded Liam Gallagher-jackets. They shoot off into space with pulsating drums and catchy monotone bass lines, with a creature behind the keys adding plenty of space oddities. It’s mesmerizing and highly energetic. Though they use a wide range of sounds and effects, it doesn’t get too present-day indie-electronic.

They stay true to their space rock ancestors, and when they finish off with Streams of Unconsciousness - an absolute killer song – the Hawkwind spirit is pured upon us.

And oh, not to disappoint you, but Les Big Byrd aren’t actually extra terrestrials. They’re a Swedish collaboration consisting of Jocke Åhlund (Teddybears Sthlm and Ceasars), Nino Keller (Caesars), Frans Johansson (Fireside) and Carl Zim Lundell.

By: Sean Erik Scully

By: Torbjørn Årsland

Photo: Patrick da Silva Sæther

Photo: Sigrid Bjorbekkmo

The only man wearing shorts in Oslo tonight is Korallreven’s singer, and he also has a flower in his hair. Of course this all suits a Swedish group (a duo on record, three live) whose music was conceived in Samoa and melds together Balearic house, UK rave and tropical pop. Beloved of the blogosphere, Korallreven proved via three great mixtapes and an album, called simply An Album

By Korallreven, to be a journey kind of experience. Songs called ‘Loved-Up’, ‘A Surf On Endorphins’ and ‘Comin’ Down’ prove the point. So what are their chances of making their shimmering, surfacey and secularly spiritual music work as part of a showcase night when everyone’s running around trying to fit in as many bands as possible in just a few hours? They stood no chance and their lack of live experience did them no service.

Transported to a beach in Ibiza on a hot summer’s evening and people would have been seduced. Stuck in a roof-top bar on a cold winter’s night and few punters cared.

Susanne ”Sisi” Sumbundu’s backing vocals have been featured on a number of Norwegian hit songs, including Madcon’s Liar, Paperboys’ Lonesome Traveller, and even 2011 Eurovision Song Contest anthem Haba Haba.

Recently, the soul singer has been enjoying increasing attention for her solo project, which finally places her and her voice where they belong: right in the middle of the spotlight.

Performing at the John Dee stage yesterday, she appeared to be very comfortable in this position, appearing as a local fusion between Amy Winehouse and Janelle Monáe.

She may have shown a little less attitude than the act she followed, and her live musicians appeared slightly static and awkward in comparison to the electrifying crews in the previous shows, but Sissi and her band nevertheless showcased a delightful level of passion and confidence. And they have every reason to be confident: from the smooth and slow to the funky and danceable, the crowd was won over with memorable melodies.

By: Phil Hebbletwaite

By: Eskil O Vestre

By: Henriette Kverneng Johansen

Photo: Glenruben Engen

Photo: Glenruben Engen

Photo: Sigrid Bjorbekkmo

Møster! (N) Victoria / Nasjonal Jazzscene, 09:30 PM Anonymously dressed in jeans and a black cotton shirt, Kjetil Møster reveals his true self, a far cry from the show he delievered with his fellow Datarockers in the mid noughties.

Norways National Jazz-scene is boiling with people. The music is dimmed, blue lights cover the stage and Møster casually enters. Before you know it, what started as two loud simplistic sounds from his saxophone have amalgamated and merged into a sound reminiscent of a modern, complex and shivering thriller movie. He guides you through the sound-scape with the intelligence and urgency of a David Lynch movie soundtrack. The intensity never drops. But in comparison to fresher jazz-artist performing only with their instrument and a sampler, he doesn’t rape the sampler. No, Møster sucks us into his world long enough to get on board, forcing the audience in a new direction, before he abruptly closes the door.

14

SATURDAY FEB. 18th 2012

BJ Ö RK ÅRABROT THE STONE ROSES THE WAR ON DRUGS THE BLACK KEYS FIRST AID KIT BON IVER FEIST ST. VINCENT (IS)

(UK)

(US)

(US)

(SE)

(US)

(US)

(CA)

HIGHASAKITE

JONAS ALASKA AZEALIA BANKS

YELAWOLF

(US)

THURSTON MOORE

(US)

THE DEVIL’S BLOOD

(US)

(NL)

FLORENCE + THE MACHINE

(UK)

NICOLAS JAAR – LIVE IN CONCERT (US)

MIKHAEL PASKALEV

A$AP ROCKY

(US)

REFUSED

MIRROR LAKES

(SE)

CHARLES BRADLEY AND HIS EXTRAORDINAIRES

KARPE DIEM

(US)

TAMIKREST

THE GOOD, THE BAD AND THE ZUGLY

(ML)

EL DOOM & THE BORN ELECTRIC

SUSANNA

YOUNG DREAMS

MARTIN HAGFORS

SUDAN DUDAN

LARS VAULAR

HEYERDAHL

ANE BRUN

BILLETTSERVICE.NO / 81533133 / NARVESEN / 7-ELEVEN

NEKROMANTHEON

WWW.OYAFESTIVALEN.NO Øyafestivalen er støttet av Oslo kommune, Kulturdepartementet og Utenriksdepartementet

SATURDAY FEB. 18th 2012 WELCOME 15

SÁp Muc Ars 21

SieR/SowRir

No VaeaÄÄ wWw.NivAlap.c

FINNMARK ROCK COUNTY promoting new and inspiring artists from the north

16

SATURDAY FEB. 18th 2012

REVIEWS

SKOLEKONSERTENE - I EN KLASSE FOR SEG! Foto: Lars Opstad / Rikskonsertene, design: Kristian Ulyses Andaur.

MUSIKK GJØR NOE MED BARN

I møtet mellom utøvere og barn skapes magiske øyeblikk. Opplevelser med levende musikk vekker undring, utvikler fantasien og sporer til kreativitet.

I løpet av et skoleår vil 800 profesjonelle musikere gi over 9 000 konserter for alle barn i alle skoler i alle kommuner med musikk i alle sjangre fra alle verdensdeler. Rikskonsertenes skolekonsertordning er en del av Den kulturelle skolesekken, og gjennomføres som et samarbeidsprosjekt mellom Rikskonsertene og alle landets fylkeskommuner.

Har du en god idé til en skolekonsertturné? Send inn forslag på www.rikskonsertene.no/programforslag Søknadsfrist: 1. september 2012

THURSDAY REVIEWS

SATURDAY FEB. 18th 2012

Gerilja (N)

Oter (N)

Mono, 12:00 AM

John Dee, 11:00 PM

Three hairy dudes entered the stage at Mono with the aim to recreate the classic rock - with some significant adjustments to it.

Lead vocalist and guitarist in Gerilja, Aleks, the guy with the poodle-like hairdo, breaks the sheltered atmosphere with a remarkable voice.

It sounds like he could have been something that Turbonegro’s Hank Von Hell and the Mars Volta would have bred.

The nostlagic 80s keyboard played an experimental but fun part in the overall sound picture. The ghost-like sounds made the impression that the synthesziser man might have been watching ‘Scooby Doo’ a little bit too often. Not that that’s nescessarily a bad thing. It rather became the grape on top of the ‘cheezy’ show last night. This is truly rock music with an edge to it, more so than what you usually would find at a venue like Mono. Of course the drummer was shiftless., something that sticks with you when it comes to rock ‘n roll.

Oter, the Norwegian rapper whose real name is Stian Ottesen, well known after many years in the Norwegian underground, used to live in Oslo. He’s moved back up to the north of Tromsø. So has Poppa Lars from Tungtvann. Three years later they are back in Oslo, sharing a stage. Dropping pounding beats, strengthened by live drums and an electric guitar, certainly not missing bass.

Oter’s debut single was released in October 2011, with quite a controversial video. There you find stereotypical hip-hop ingredients, such as: a long-legged sexy woman, violence, guns and drugs. But there was also something more to it, the pictures of Oter tied up in a straight-jacket, men splitting up a bag of cocain, pointing guns at eachother, while Oter repeats the line “It goes fast, all too fast, it goes around.” Seeing Oter on stage with an oversized t-shirt, ray-bans and a silver neckless, he didn´t score too high on the parameter of controversy this night, but all in all the crowd was on his carousel.

By: Ida Madsen Hestman Photo: Lars Olav Dybvig

By: Henriette Kverneng Johansen Photo: Mats Johannessen

Maya Vik (N) Stratos, 12:30 AM The first thing that strikes me as she starts to play is how well Maya Vik interacts with the crowd. She smiles, dances, and looks at everyone as if she was looking only at you. She’s having fun, and it’s contagious. There are not many bass playing front figures in this world, but it feels strangely natural in this case. The thing about bass players is that they often have a very good sense of groove. The music is loaded with 80’s sounds but still sounds fresh. With the typical Linn drum sounds it’s hard not to draw lines back to early Prince, and she knows it. Being influenced does not mean you copy, and although it’s a fine line she balances it well. The songs sounds even better live than they do on record, they feel more alive. It’s just drums, bass and keyboard, but it’s enough. It’s the perfect way to end the first night and people seem to agree.

Maya Vik is here to stay, and we’ve only just witnessed the beginning.

By: Henrik Richter Schie Photo: Johanna Siring

Icona Pop (S)

Linnea Dale (N)

Mirror Lakes (N)

Beglomeg (N)

Jaeger, 10:30 PM

Nokia teltet, annex, 09:00 PM

Last Train, 11:00 PM

Gamla, 01:00 AM

Something like the sound of a garden party with clinging glasses, rabbits and big dresses, while someone’s playing sped-up remixed Pet Shop Boys in the background.

The Stockholm duo plays it safe at first, with a couple of energetic, but not overly dramatic songs. Although ‘safe’, Icona Pop’s material is far beyond the usual Scandinavian electro pop, and light years away from what the somewhat stiff crowd at Jeager expects, which overall turns out to be a big advantage for the duo.

When the synth duo pulls out their biggest hit ‘Manners’ from their catalogue, the energy at the venue increases.

The duo seems to enjoy their brief, but important act, and it’s obvious the crowd is infected by their chilled, but controlled attitude.

By the time ‘Nights Like These’ are blasting through the speakers, the crowd is eased up and able to enjoy the Rare nordic act.

Icona ask us from stage; ‘Is it okay if we party with you later?!’ - We will dance to Icona’s songs for a long time here on out.

Linnea Dale has become a well known local name in the past five years – first through the Norwegian edition of American Idol, then as an unofficial sixth band member of the big pop sensation Donkeyboy. With her new solo project, the young singer distances herself a few steps from the broad pop appeal of Donkeyboy. Opening with the excellent “Lost Highway” off her recent debut EP while sitting slightly hidden behind her keyboard, her quirky and shy nature, refreshing play with words and intriguing voice are reminiscent of a young Regina Spektor.

The twenty-year old’s face was constantly filled with either a giant grin or an expression of immense concentration and musical passion. Talk between songs was accompanied by the same enthusiastic grin – and limited to a few words nearly drowned in nervous giggling. But thankfully her vocals by no means drowned in anything, and the short but atmospheric concert left us wanting more from this shy talent.

By: Ida Madsen Hestman Photo: Sigrid Bjorbekkmo

17

Admittedly, it was a bit unusual seeing Knut Schreiner perform on stage without makeup and the officer’s hat. That aside, this super act matched all expectations, in front of a glutted gathering. Even members of Bigbang and Euroboys found their way to see Mirror Lakes perform their very first gig in Oslo. But then, what do you except when the band consists of artists such as Frode Fivel (Hello Goodbye and lately known as a solo artist), Knut Schreiner (Turboneger and Kåre & the Cavemen/ Euroboys), Trond Mjøen (Euroboys), Håvard Krogedal (Serena-Maneesh and I Was A King), and Arne Mathisen (from Heroes & Zeros)? Their music was a potpourri of hard rock with audible elements from all the band members’ previous work. Resembling Robin Pecknold (Fleet Foxes), Fivel’s great voice was complemented by excellent guitar solos by both Schreiner and Mjøen. Did you miss out on the concert? Mirror Lakes is performing again on Saturday at Rockefeller 11:30 PM, be there early!

Not sure if it’s the number of musicians on stage or the well known faces, or perhaps it’s the similar instrumentation: Beglomeg in performance is reminiscent of known Oslo band Frank Znort. It has a much darker sound to it though, and it’s more rocky.

“Lommelerka! Lommelerka! Lommelerka!” (“Hip flask! Hip flask! Hip flask!) they roar.

And then there’s a dash of kletzmer, and then samba. A man turns around, shaking his head, saying: “It’s like.. Weird and special just to be special.” And yes, Beglomeg is special. And they’re bold. One is platina, the other Latina, one’s a transvestite, and the front figure a young punk who shouts out: “We are drunk as fuck!” and then jumps up and asks the crowd: “Do you want this ass?!” before he flashes it to the crowd. In terms of the Frank Znort comparison, Beglomeg is by far more jazzy, the reggae is long gone, so what really connect the two musically is that liberating energy, the attitude of: I don’t care, I’m just having a good time.

By: Eskil O Vestre

By: Sean Erik Scully

By: Henriette Kverneng Johansen

Photo: Frank Hesjedal

Photo: Marie Gjestvang

Photo: Mats Johannessen

18

SATURDAY FEB. 18th 2012

INTERVIEW

! t e r e t n e s P o P l i t n e i e v t e n n u f r a h e s s Di h a r D u?

”funny Boys”

Opplev over hundre år med norsk populærmusikkhistorie, let etter dine egne minner eller vær stjerne for en dag!

Du finner Det På schous ! a k k ø l r e n ü r G å P t s r e D e n – voksen: 90 Barn: 50 | tirs-fre: 11-18 | torsdag:11-20 | lør-søn: 11-17 | Mandag: stengt

REVIEW

SATURDAY FEB. 18th 2012

19

Bendik (N) Mono , 09:00 PM The music of three-piece Bendik is thick and intense, but not so much a wall-of-sound as waves of sound. Mono rocks like a boat from side to side while vocalist Silje Halstensen builds vocal arrangements that hit us in the gut.

Halstensen, who started out posting little tracks of exceptional free improvisations online when she was about 15, is one of the most interesting new artists in Norway. In Bendik, she leads her band to violently romantic highs and lows.

At a quiet point in their set, I suddenly crave to hear her on her own, exploring her crystalline, starkly sincere voice in a more sparse and fragmented setting. But even in the midst if thundering drums, bass and sampled choirs, her clear-eyed personality cuts through, and her voice shoots through the audience like a ghost, making the entire room shiver with seasick beauty.

By: Jenny Hval Photo: Carina Musk-Andersen

NORGES ENESTE

MASTER I MUSIC MANAGEMENT Campus Kristiansand

Masterprogrammet er en tverrfaglig og praksisorientert utdanning som gir deg muligheten til å utvikle din spisskompetanse, tett på den internasjonale musikkbransjen uia.no/studier

Søknadsfrist 15. april

20

SATURDAY FEB. 18th 2012

REVIEWS

If you ever have to pick a crusty road protestor out of a police line-up, then the result will probably not look dissimilar to what grindcore marauders Beaten To Death look like when they first walk on stage.

TEXT: JOHN DORAN PHOTO: CARINA MUSK ANDERSEN sUB SCENE, 06:30 PM

A wall of dreadlocks, unkempt facial hair, black combat pants and grumpy expressions. Their choice of intro tape may well use the tried and tested deployment of ironically inappropriate music – in this case, slick and slightly new age jazz – but by the same token if you presume that just because they play grindcore this means you are going to receive a monochromatic and slightly tedious one gear assault by way of an impervious wall of noise with no hint of progressiveness or musical playfulness, you are mistaken.

STEROID DISCO Their modus operandi is to deliver a brutally effective death grind but often with the second guitar line playing hook laden post rock, tribal gothic, or angular post punk or any other manner of oddity in half time over the top.

The effect is strangely beguiling and when the bulldozer-falling-down-a-cliff-face atrocity of 3-2-1, It’s On is enlivened by splashes of NWOBHM guitar duelling, it’s enough to make the most weary of metal observers break into a wide toothy grin.

Perhaps their finest moment is A Soulless Alarm which opens with an optimistic post rock refrain before dropping into abysmal Extreme Noise Terror territory before hitting a groove that makes you want to get down and dance like the world’s angriest man at the Xmas party held in the offices of a steroid factory.

This in turn however gives way to a transcendental black metal coda, of the like we’re more used to hearing from Thrill Jockey’s Brooklyn signings Liturgy.

EAR BLENDER But if it’s purely an assault of caustic, cattle prod, galloping death metal that you want – the kind that makes you feel like someone’s just jammed a food processor’s blades onto to your ears - then they are happy to oblige as well.

On Running has a sten gun tattoo of blink inducing beats and chords that doesn’t resolve itself, rather it just makes you feel like your entire personality is being sucked rapidly into a sickening void of subhuman distress. Which means that for those who have the stomach for it, Beaten To Death deliver both kinds of music: landmine in the face metal and *intelligent* landmine in the face metal.

BULLDOZE

REVIEWS

R death

SATURDAY FEB. 18th 2012

21

22 FEATURE SATURDAY FEB. 18th 2012

INTERVIEW

Geir skriver låter, som han registrerer hos TONO

Geir blir plukket ut til å spille på by:Larm, der han spiller sine egne låter. by:Larm er konsertarrangør, og har selvfølgelig avtale med TONO

P3 spiller Geirs låt i forbindelse med sin by:Larm-dekning. NRK har avtale med TONO, og rapporterer musikken som spilles

Logg inn www.tono.no/webtjenester

Ikke medlem?

Bli medlem på www.tono.no/blimedlem

Geir sender inn konsertrapport til TONO etter konserten på by:Larm. Rapporter konserten din på www.tono.no/webtjenester

TONO avregner og fordeler innbetalt vederlag til Geir og andre TONO-medlemmer

Spørsmål om medlemsskap? medlem@tono.no

– låtskrivernes organisasjon

HANNE FROM HEAVEN

REVIEWS

SATURDAY FEB. 18th 2012

A unique voice from a singular talent …

Text: WYNDHAM WALLACE Photo: FRANK HESJEDAL

After all the talk of Hanne Kolstø that’s flowed throughout by:Larm this weekend, much of it with special reference to Björk, it’s something of a shock when she takes to the stage and opens her mouth for the first time. Her voice double tracked and surprisingly deep, she in fact sounds at first more like Sinead O’Connor early in her career. A strikingly tall, willowy figure in tight jeans and a glittering shirt, with a solitary guitarist / keyboardist by her side, she starts by building layers of synths, looping her vocals against a sparse electronic beat and the simplest of keyboard melodies played on what looks like a child’s keyboard preserved from the mid 1980s. It’s a striking start.

NOT EXPECTED It’s also slightly at odds with the stately grandeur of her venue, but there is nonetheless a certain antique quality to her compositions, as though they’ve been beamed in from the 1960s and given a 21st Century retro-futuristic makeover, especially when she picks up her own acoustic guitar and somehow finds space

for it to fit amongst these mysteriously alien sounds.

Soon she’s tapping beer glasses, rippling the blinds that have been erected behind her, building up a powerfully brooding atmosphere that seems far too textured to be the work of just two people. Meanwhile her partner squeezes eerie guitar sounds from his amp, Kolstø screwing up her eyes as she reaches for high notes that she seems to have no right to reach. This, it has to be said, is not what your ignorant correspondent expected at all, and is all the better for it.

There would be justifiable use of the word ‘kooky’ here if this didn’t seem to offer so much depth and complexity, each tune far too packed with detail to be consumed in one sitting. But clearly unsatisfied with her first handheld keyboard, she snatches up another equally vintage toy and this time the tempo picks up, the sound of Depeche Mode had Martin Gore actually been a woman instead of merely dressing like one.

But it’s her final tune, The City, that confirms that she deserves to be one of this year’s true beneficiaries of by:Larm. It’s a sparse tune characterised by the simplest of keyboard lines, a casually strummed acoustic guitar, and a melody that haunts like a lost child. Little wonder that it’s the most warmly received song of the night.

A DISTINCTIVE TALENT If there’s one criticism to be made, it’s that her songs deserve fuller arrangements from a larger group of musicians and possibly further development - it’s as though she’s nervous of them outstaying their welcome. They don’t however, and as she concludes this impressive set it’s clear that she, with a little time and space, she could indeed become as distinctive a talent as both Sinead and Björk.

She may not yet be quite celestial, but she’s definitely got her head in the clouds, and she’s looking up at the stars.

23

24

SATURDAY FEB. 18th 2012

INTERVIEW

Samme avis – i nytt digitalt format Dagbladets papirutgave og Magasinet spesialtilpasset for en ny og spennende leseropplevelse

Last ned nå - første utgave gratis!

SHOWCASE

SATURDAY FEB. 18th 2012

Ungdom og studenter halv pris.

Husk gyldig legitimasjon.

Ungdom f.o.m. 16 책r t.o.m. 20 책r og studenter f.o.m. 21 책r t.o.m. 31 책r betaler halv pris.

25

26

SATURDAY FEB. 18th 2012

SEMINAR

THE INDIVIDUALIST Todd Rundgren (63) is a musical wizard, a true star. But he is also one of the rock industry’s most distinctly autonomous artists, for better or for worse. A brief introduction to his life and work follows.

SEMINAR, Q&A WITH TODD RUNDGREN, SATURDAY 12:00 PM, AT FOLKETEATERET

Text: Audun Vinger / Translation: Astri Barbala Illustration: Esra Røise

I

t’s not just author Simon Reynolds who is sick of popular culture constantly looking backwards. One who has made it his life’s work to resist easy career solutions and avoid passively delving into his own past is Todd Rundgren.

During the last 40 years he has been one of the most fascinating figures American music has had to offer: be it as a songwriter, musician, producer or technological innovator.

During by:Larm, Rundgren will be interviewed on stage, about his career, his songs, his work; in other words, his musical poetics.

Rundgren will also be heading to the studio with several prominent Norwegian artists: Hans-Peter Lindstrøm and Emil Nikolaisen (of Serena-Maneesh), and exclusive solo concerts are arranged in Oslo and Bergen – a format he hasn’t been seen in for many years. Rumor has it that fans from Connecticut and Glasgow have bought tickets to experience this. Because if there is one thing Rundgren has, despite his lack of chart toppers, it’s fans. Ardent fans.

Passionate fans, who know they know something others don’t.

THE RISE OF TODD RUNDGREN He may not have a name that frequently gets dropped in an average contemporary Norwegian household, yet he is nevertheless a genuine source of inspiration for younger generations of musicians, including Norwegian ones; from Jan Eggum to White Willow, from Sondre Lerche and Thom Hell to Montée and Lindstrøm. A versatile bunch, that.

There are many of those who see Rundgren as an enormous musical talent and an idiosyncratic artist persona in line with otherwise not comparable figures such as Prince, Frank Zappa, Paul McCartney, Elvis Costello and Pete Townshend. Since these are fairly big words, we think it is appropriate to present a very short introduction. Call it adult education, if you will.

He’s from Philadelphia. Born in 1948.

After having walked his Beatle boots through blues rock band Woody’s Truck Stop, Rundgren soon found the direction,

and the pace, with The Nazz in 1967 – a very Anglo-directed band sounding like an explosive American psych-pop version of The Who. Songs like ”Forget all about it” and “Open My Eyes” are considered among the most significant songs from this era of American rock music.

Nazz released two excellent albums, and a third was released right after the band supposedly had disbanded. Perhaps for the better – Todd Rundgren was meant for bigger things. Early on he was also known for his good relations with studios and instruments, and started his comprehensive side career as a technician on The Band’s album Stage Fright in 1970.

THE STUDIO AS AN INSTRUMENT Two solo albums, Runt and The Ballad of Todd Rundgren, establish him as a kind of singer-songwriter, a part of his time. His music was at this point greatly inspired by the singer, pianist and songwriter Laura Nyro (who, incidentally, was recently inducted, posthumously, in The Rock & Roll Hall of Fame). Rundgren wrote several of his most beloved songs in this period, but it wasn’t until the release of the massive double album Something/Anything? in 1972 that ”Todd Rundgren” became a concept and a world-renowned name. And his track “I saw the light” and the re-recording of the Nazz track “Hello, it’s me” made him an international star, experimental stadium rocker and radio favorite. His songs are still used when a retro-cozy series indicate “the 70s”. Rundgren has had a problematic relationship with these songs ever since.

On this record he also started to make use of the studio “like an instrument” to a significantly greater extent. The subsequent A Wizard a True Star (1973) took this further: a vivaciously inspired, diverse and cohesive suite that seemingly describes the psychedelic experience. Rundgren was never much of a party animal as opposed to most stars of his generation, although he did take various consciousness-expanding drugs for while – most likely to further get to know himself and his own creativity. The 70’s was a decade when musicians invested in spirituality and dared to think big. This, too, for better or for worse.

IN CONSTANT EVOLUTION Perhaps not surprisingly, when this album first was performed live on a couple of occasions in 2009, it was practically a stage production, or a musical.

Whether humor belongs in music is a question we most likely won’t put to bed any time soon, but Rundgren is among

the few who are able to combine raw soul ballads with slapstick, politically charged lyrics with progressive pop, flamboyant guitar playing with minimalist electronica.

The double solo album Todd (1974) followed a similar musical path, though with a touch of stadium rock, but his music doesn’t tighten up for real until the intense prog rock album Initiation in 1975. Here, the listener would find the 35-minute long track “A Treatise on Cosmic Fire”. Singersongwriters just didn’t do that.

From then on one can argue that Rundgren followed two parallel courses. He had already started the prog band Utopia on the side, and this became a significant band itself, with a chain of accomplished albums. Simply put, from then on he had his solo albums (with more pop-based tracks on which he pretty much played all instruments himself, ), plus the more gargantuan, full band albums with Utopia.

Talking about one without considering the other is difficult (and unfortunate).

But even Utopia was a band in constant evolution. Not only when it came to its members – the crew would soon settle – but they also grew into a more focused style, and even though they were still a prog rock band, they kept themselves compact, transformed their energy and turned into a very potent, and soulful New Wave pop band.

The highlights in Rundgren’s album catalog are legion. Hermit of Mink Hollow (1978) includes pop tunes such as “Can we still be friends?”; Healing (1981) is meditative, A cappella (1985) is a sensationally fine record where all sounds stem from Rundgren’s vocal cords; the soul album and fan favorite Nearly Human (1989) is recorded live in studio with several musicians -- and Rundgren made it look so easy when he suddenly decided to release a “normal” album in 2004, with the great, politically indignant Liars. His latest regular album was the powerful but a bit patchy Arena-album in 2008. However it contains his best song in ages: ”Courage”.

In addition, he has also produced a number of albums for a wide variety of artists, such as Patti Smith, New York Dolls, Meat Loaf, Tubes, XTC. He has been a pioneer when it comes to developing new technologies within in the recording, distribution and visualization of music. He was among the first to explore the video format; for a period in the nineties he took the alias TR-i and made interactive music the mixing of which the listener could partake in.

Simultaneously he established, with his old acquaintances at Apple, the subscription service Patronet, where one could subscribe to mp3 files of his new songs. Todd Rundgren: Always ahead of the crowd!

HIS OWN MASTER Which is all well and good. But there are in fact lots and lots of great music and historically important rock artists, so what is it that makes Todd Rundgren worthy of our attention?

It is his constant display of artistic willpower. The most fascinating thing about him is that he has actively torpedoed any attempt to make him a palpable figure. The vast majority of his generation is exceedingly pleased to be touring and performing toothless versions of songs that were popular before the majority of their audience was born. And they are happy to make records that will give listeners the illusion that even though times sure are changing, your favorite artist persists. This is not an alternative for Todd Rundgren.

Rundgren’s projects can be both painful to listen to and fun to think about. But, as with many other things; they can change over time, and eventually be easier to relate to. And just look at the plethora of genres he would happily considering “dealing with”: Heavy rock, bossanova, old geezer-ish blues tunes, techno, a cappella, soul rock, rap, Lady Gaga parody with autotune. This just doesn’t match the average rock fan’s notion of an honorable man. Something which makes walking into a (virtual) record store a somewhat confusing experience. You have no idea how you’re going to feel afterwards. For Rundgren fans following their hero has been equal parts frustrating and rewarding. The fact that he hasn’t been backed by a proper record label in a good few years is probably down to all of these, some would say stubborn, career choices. A situation he doesn’t seem to be particularly sorry about, however.

He truly is his own master.

And he is more than capable of making music that surpasses everything else out there. He might be a tech freak, but he is still the most human artist I can think of.

Originally published in literary magazine Vinduet, december 2011. For more, see www.vinduet.no

SEMINAR

SATURDAY FEB. 18th 2012

27

Today Todd Rundgren will be interviewed on stage at Folketeatret. During his stay in Norway he will also be performing solo at exclusive events in Oslo and Bergen – a format he hasn’t been seen in for many years.

28

SATURDAY FEB. 18th 2012

INTERVIEW

Statoil Grant nominee Jonas Alaska has played together with Mikhael Paskalev and Billie Van since they met at LIPA.

WITH A LITTLE HELP FROM MY FRIENDS

A FRIENDLY TRIO: Billie Van, Jonas Alaska and Mikhael Paskalev backstage at Rockefeller Thursday.

Text: Fanny Vaager Brekke Photo: Atle Richter Schie STATOIL GRANT 2012, SATURDAY, 19:00, FOLKETEATERET

These three artists and their respective projects entangle in a way that makes them run from venue to venue to back each other up.

Q:

What is it like to play with your best friends?

Jonas: It’s a lot of fun. When you travel as much as we do, it’s good to have people around you that you like to hang out with.

And we have a lot of time between gigs and sound checks and all of those things, so it’s better to have your friends around you than just colleagues.

Q:

You all play in each other’s bands, what would happen if you were to play gigs at the same time?

Mikhael: Well, we have backups, other musicians that can step in. But it’s more fun when we can play together, so we try to plan it like that if it’s possible. It’s getting harder and harder though, we are playing every weekend in June, July and August. It will be a hectic summer!

Billie: We are planning to bring sneakers so we can try to be healthy as well, the lifestyle one tends to lead on the road is not good in the long run.

Jonas: I will not bring my sneakers, but I will try to eat healthier. And I can go swimming, but thats as far as I will go! The

important thing is to try to find some kind of routine when on the road. Something that slightly resembles your everyday life at home. And make time for songwriting, not just doing shows.

Q:

You have experienced great success the last year, what does it feel like to play by:Larm for the first time as an experienced artist, versus being some basement band that just got started?

Jonas: Its really great that so many delegates are here and will come to see us. But with all the shows we are playing, it will be chaotic.

A lot of fun of course, but I look forward to Monday as well.

FEATURE

SATURDAY FEB. 18th 2012

29

VINN STUDIOTID!

At The Loft Records er et nyoppstartet recordlabel i Oslo som gir deg og bandet ditt sjansen til å vinne 3 innspillingsdager i et flunkende nytt studio!

Ane Brun Marit Larsen Seigmen 120 Days Dreamon Envy Graveyard (S) Insense King Krule (UK) Sondre Lerche Stein Torleif Bjella Team Me Casual Friday Daniel Nordgren (S) Hymns From Nineveh (DK) Mikhael Paskalev Promise And The Monster (S) Sandra Kolstad Sóley (ICL)

På Kastellnatt Autolaser

mye mer kommer snart! www.slottsfjell.no

FOR PAMELDING: here comes a point — regardless of how done on a wing and a prayer, but we did Gå inn på www.attheloftrecords.com big your ambitions are for a certain check this; we did call the port in December eller mail med navn, og be project, andsend regardless of how much time e-mail, 2009 telefonnummer to confirm the levy. “You’ll and money you’ve spent on that project charged V.A.T. on the value of the goods,” band/artistnavn til konk@attheloftrecords.com — when you have to take a step back, see we were told, which wasn’t going to be Konkurransen avsluttes torsdag 01. mars the bigger picture and say, “Okay, tell the much. Then, on January 1, 2010 the fuckers to torch the lot of them.” authorities decided importers had to pay by weight — great news if you’re importing That was an order I gave to Melissa diamonds, but a meagre 40 bundles of Stool Bohlsen, who used to work for my Pigeons weighs just shy of half a tonne.

London-based music newspaper The Stool Pigeon, a couple of days before By:Larm “Okay, tell the fuckers to torch the lot of 2010 started. She was in a small, cold them.” customs office at the port of Oslo. I was in Peckham, South London.

We really wanted to see if the paper would work in Norway. Crazy as it sounds to Oh, bastard luck. It had already cost over me now, we had plans to launch in Oslo iPhone & Android £500 to ship 40 bundles of Stool Pigeons permanently, and then possibly also Bergen. to Oslo and now customs were demanding You Norwegians obsess over music in a a staggering £650 to release them — a very similar way to the British. You also massive surprise. Everything we do here is drink too much and have a cruel sense of

Kjøp billett her:

humour. What could possibly go wrong?

As a starting point, by:Larm seemed perfect — every music nerd from every corner of Norway, and the other Scando countries, all together in Oslo for three full days of carnage. We’d push our silly paper under the noses of the lot of you and MAKE YOU LOVE US FOREVER. But we’ve been foiled by a change in the import rules, and we were bleeding.

many people turned up (they were on too early), but word of their power spread and a show the following night in the roof-top Stratos bar was, like eardrums, bursting.

Denmark’s Oh No Ono, with their brilliant, skewered pop stole our party, and the first night of the festival. They ended up on the front of the by:Larm daily paper the next morning and deservedly so. But our headliners, Ungdomskulen — picked because they’re a band of the people, especially when the people are hammered — weren’t on form. “They sound like an amalgamation of every band that ever played //Old Grey Whistle Test//,” someone quipped. Sounded about right. It was galling to see them play an incredible set in London a couple of weeks later as part of the Ja Ja Ja night. In Oslo, they flopped.

.no

www.slottsfjell

“Okay, tell the fuckers to torch the lot of them.”

We had a party planned, with a killer line-up. The gorgeous Samfunnsalen venue was ours for the Thursday night and Altaar began by filling it with thunder.

Contemplative, resonant, necrotic doom… it suited our frames of mind perfectly. Not

30

SATURDAY FEB. 18th 2012

SIMON SAYS “You have to own your own theories and feelings to write them convincingly.”

SEMINAR

WHICH SEMINARS HAVE YOU BEEN MOST EXITED ABOUT? text/photo: fanny Brekke

Karoline Kvalheim I liked the New Generation seminar, it was really informative. The seminar program is definitely good this year, a lot of different themes and perspectives.

Anna Ingler I think the program is relevant and diverse, there is a lot to see. And a lot for everyone really. I like that it is very straight forward, you learn things that is very usable.

Sanjin Kazagic I have seen the streaming sessions, they were good. But I would like to see some actual numbers, a bit more specific facts. Some of the things said were too obvious.

MUSIC WRITER: Simon Reynolds has been able to comment authoritatively on post punk, new pop, rap, noise rock, rave, drum and bass, electronica and hauntology as well as multiple forms of alternative rock and indie.

Text: John Doran Photo: Jenny Solem Vikra

W

hile not everyone agrees, certainly most of those with their heads screwed on straight would concede that Simon Reynolds was one of the top music writers at large in the world today, if not the outright best.

Ideally placed at Melody Maker in the 80s and 90s and then at various publications including The WIRE, The Guardian, The New York Times and Village Voice since, he has been able to comment authoritatively on post punk, new pop, rap, noise rock, rave, drum and bass, electronica and hauntology as well as multiple forms of alternative rock and indie.

“I’ve had some unpleasant reactions to it …

He has a gift - that while not unique is nonetheless is rare enough - for taking sometimes extremely complex ideas and delivering them in a very accessible manner,

while many of his peers shamefully strive to do the exact opposite. It is probably no surprise then, that some of his former colleagues at IPC Media in the UK (he now lives and works in the US) still refer to him, in a non-ironic and only partially jokey way, as The Master. (This is, one would presume because of the nature of his work, rather than his status as a secret enemy of Dr Who.) So it is a pleasure indeed to enjoy hearing a chat between Audun Vinger and Reynolds that lasts for 80 minutes and takes in a lot of the subjects the latter writes about, mainly with reference to two of his books, Retromania: Pop Culture’s Addiction To Its Own Past and Rip It Up And Start Again: Postpunk 1978 – 1982.

The former book has defined the lion’s share of the discourse about music over the last 12 months and, even if you don’t agree with every sentiment expressed in its pages, it still makes for engrossing and enlightening reading.

Reynolds agrees that it has certainly ruffled a few feathers: “I’ve had some unpleasant reactions to it … I make no pretence to do anything other than write from my own perspective though

… You have to own your own theories and feelings to write them convincingly.”

“I have a really high opinion of what music should be like He compares his own role in the 80s as an ‘inkie’ writer in the UK, amplifying the rush forward into the future and the importance of new bands, to the role played by certain key tastemaker blogs today but says that people do this more for glory than reward. He admits that Retromania is quite gloomy in its outlook but that is because his default setting is curmudgeonly: “I have a really high opinion of what music should be like… People say it’s because I’m getting old but I was writing these kind of doom and gloom pieces about pop music when I was 23.” After the talk he hangs round to chat to us later and says that there are still groups out there that combine the kind of post punk modernist aesthetic with the bleeding edge influence of modern black dance music in such groups as Grimes, Gang Gang Dance and Animal Collective so perhaps all is not yet lost.

Wiggo Larsen I got a lot of good and inspirational ideas this year. It’s good that you get knowledge from others and can put your own spin on it.

Yang Yu I have seen a lot of different talks, and they were all very useful. But too little of the seminar program is in english, there were several things i wanted to see but couldn’t because I don’t speak Norwegian. The Field, and Icona Pop. A lot of good Swedish music! I’m also eager to see if Anja Elena Viken can live up to the hype.

NEWS

SATURDAY FEB. 18th 2012

AUTO FOR THE PEOPLE

Energetic tripping with the phenomenon behind the mask.

ALLEREDE BEKREFTET:

ACTIVECHILD(US) AUGUSTBURNSRED(US)

BE IRUT

(US) BJØRNTORSKE(NO) DEVILDRIVER(US)

DROPKICK MURPHYS EDSHEERAN ENVY ICEAGE

(US) (UK)

(NO)

THE LASER GUY: Autolaser, the young man who is too alternative for any genres.

Text: LEENA OLLIKAINEN Photo: ATLE RICHTER SCHIE

Q&A WITH AUTOLASER

Q:

How would you describe your sound?

Powerful boost of dark, emotional, colourful, highly energetic and alternative sound.

Q:

Where is the club scene in Norway going?

It’s getting more popular now, the club scene is also getting some more serious attention.

Q:

What are the pros and cons of having a “one man’s band”?

The good thing is you decide everything in the production, and you can live off of the music. Can’t come up with a single downside of being one in a band, maybe that there’s more work to do.

Q:

How do you proceed with the process of building your music?

I get inspired by almost anything, like meeting new people, feelings, old music, and playing shows. When I’m in the studio, things are just popping automatically into my mind.

Q:

You have chosen to perform behind pseudonym and a mask. Why? I just want to create a visual effect of my music with the character I’ve made. And I don’t want any focus on my real face, just on the AutoLaser phenomenon.

Q:

Your name has been mentioned when talking about Skrillex and Deadmau5. Not exactly totally unknown artists. What do you think of this kind of name dropping?

I love them both, for what they have done for us in the EDM world. I don’t see myself as similar to them, I’m just too alternative in terms of genres. But if people want to say I’m a copycat, that’s just a big compliment.

Thank you! People are jealous, if someone does a big thing they need to do something to bring them down.

Q:

Any other festivals you are excited about this year?

Yeah! Slottsfjellfestivalen & Storåsfestivalen!

Q:

What’s the weirdest description of your music that you’ve heard?

Hmm. I don’t know.

Q:

What can we expect from your live shows at by:Larm?

A lot of energy and a trippy visual experience.

Q:

Your suggestion for a kick ass after party playlist? (5 songs)

1.

2.

3.

4.

5.

9th Creation – Maybe Aniki – Lesbian Bondage Fiasco Rawthang – Unity Murder Mark - Bad Bitches Drop It Low (Slick Shoota Remix) Slick Shoota – Bruk

(DK) JONASALASKA(NO) KREAYSHAWN(US) LEMAITRE(NO) L IDOL IDO(NO) LOSTPROPHETS(UK)

M MACMILLER (FR)

(US) MALEBONDING(UK) MARIBEL(NO) MIKHAELPASKALEV(NO) REALESTATE(US)

RISEAGAINST

(US)

SSK R I L L E X (US) UMMERCAMP (UK) TODDTERJE(NO)

TOTALL YENORMOUS EXTINCTDINOSAURS(UK)

WIZKHAL IFA

(US)

THEXX(UK)

MANGE FLERE NAVN KOMMER!

31

Søndag 19. februar:

Lørdag 3. mars: OLGT! UTS

Fredag 23. mars:

Fredag 27. april:

Lørdag 24. mars: ERT AKONS EKSTR

Lørdag 25. februar:

SHARON JONES & THE DAP-KINGS “Soul Time!” ute nå!

AFTENPOSTEN

Bill. kr. 270,-. 18 år leg.

“Hatred, Love & Diagrams” ute nå!

RB DAGBLADET VG

Supp.: RIBOZYME + TRAINED TO BITE

Bill. kr. 270,-. 18 år leg.

Bill. kr. 250,- 18 år leg.

Fredag 9. mars:

Fredag 30. mars:

ENVY 5 STAR FESTIVAL Bill. kr. 175,-. 18 år leg.

Lørdag 28. april:

Torsdag 23. februar:

TRYGDEKONTORET Trygd Across Norway Tour 2012

Hitmakeren bak låtene “Ring meg!” og “Bordet”!

Med: THOMAS SELTZER, LEO AJKIC, HEINE FJORDLAND, TRYGDEBEISTET, ANNE KAT HÆRLAND, ODD-MAGNUS WILLIAMSON. Musikalsk gjest: STEIN TORLEIF BJELLA

gabrielle

NB! Begr. ant. bill. i salg.

Tirsdag 13. mars

Bill. kr. 270,-. 18 år leg.

Debutalbum ute 2. mars!

Bill. kr. 200,-. 18 år leg.

TEAM 10/10 “To the Treetops” nå!

ME ute Musikknyheter.no + JONAS ALASKA

Special guests: ADMIRAL P + JAA9 & ONKLP + HERRELØSE + SISI

Nytt album ute 20. februar!

Bill. kr. 200,-. 18 år leg.

Lørdag 25. februar:

10/10 “Jonas Alaska” ute nå!

Musikknyheter.no

Bill. kr. 270,-. 18 år leg.

Fredag 16. mars:

Supp: MIKHAEL PASKALEV

Bill. kr. 200,-. 18 år leg.

RT

KONSE

EKSTRA

Supp.: CREATURE WITH THE ATOM BRAIN + THE CUBICAL “Blues Funeral” ute nå!

DAGBLADET VG

Bill. kr. 270,-. 18 år leg.

Tors. 23.2: Bill. kr. 175,-

HIGH PLACES (US) Supp.: HEARTFELT

Fre. 24.2:

NARUM GUREN HAGEN FRIDA ÅNNEVIK KNUT ANDERS SØRUM

Tors. 1.3:

Bill. kr. 200,-

Tirs. 6.3:

Bill. kr. 200,-

“Endgame” ute nå!

Bill. kr. 320,-. 18 år leg. i hovedsal. Fri alder på galleriet.

Lørdag 10. mars:

NB! FÅ

BILL.!

Supp.: HANNE KOLSTØ Gjesteartist: JENS CARELIUS

Bill. kr. 200,-. 18 år leg.

Lørdag 17. mars:

Nytt album ute 2. mars!

Supp.: DISKOTEK Bill. kr. 270,-. 18 år leg.

Tirsdag 17. april:

Bill. kr. 270,-

Perform “CLOSER” A Joy Division Celebration

Fre 9.3:

Bill. kr. 200,-

Kathleen Edwards(CAN) “Voyageur” ute nå!

AFTENPOSTEN, DAGSAVISEN

Supp.: HANNAH GEORGAS(CAN)

Ons. 14.3: Bill. kr. 125,Releasekonsert:

PHONE JOAN

www.gracefordrowning.com

Tors. 15.3:

Bill. kr. 300,-. 18 år leg.

Supp.: THE YUM YUMS Lør. 17.3:

CASS MCCOMBS

Ons. 21.3:

Bill. kr. 150,-

Fre. 23.3:

Bill. kr. 150,-

THE GOOD THE BAD AND THE ZUGLY

The Little Hands of Asphalt

Lør. 24.3:

Bill. kr. 150,-

Releasekonsert:

Nytt album ute 10. februar!

Bill. kr. 270,-. 18 år leg.

Lørdag 24. mars:

Bill. kr. 270,-. 18 år leg.

Onsdag 9. mai:

LIDO Debutalbum ute nå!

LIDO AFTENPOSTEN

Tors. 29.3: Bill. kr. 175,-

(CAN)

Forsalg: Posten, Supp.: www.rockefeller.no, WE ARE THE OCEAN Narvesen, 7-Eleven, tlf. 815 33 133.

Søn.

1.4: Bill. kr. 270,NB! Bill.avg. 18 år leg.

(US)

Supp.: DRM + PHATS Lør. 28.4: Bill. kr. 100,Releasekonsert:

the JAYHAWKS ”Dic.Nii.Lan.Daft.Erd.Ark”

Bill. kr. 175,-

Releasekonsert:

Lørdag 5. mai:

THE SOUNDTRACK OF OUR LIVES + THE AMAZING

Bill. kr. 200,(US)

Fredag 4. mai:

Bill. kr. 270,-. 18 år leg.

“Alle Snakker Sant” ute nå!

AFTENPOSTEN, DAGSAVISEN

(S)

PETER HOOK AND THE LIGHT

Fredag 13. april:

siri nilsen

Bill. kr. 200,-

En efta med trassviser og tordenskrell

Bill. kr. 390,-. 18 år leg.

Tirsdag 28. februar:

“Mockingbird Time” ute nå!

DAGBLADET

(S) SAMLING Supp.: LAST HEAT

Ons. 7.3:

Fredag 16. mars:

MARK LANEGAN BAND

Bill. kr. 150,-

raymond (S) & maria

Søndag 29. april: An evening with:

Lørdag 31. mars:

“Balls Out” ute nå!

Supp.: THE TREATMENT

NB! F

Bill. kr. 300,-. 18 år leg.

I samarbeid med Musikknyheter.no

Releasekonsert:

Onsdag 7. mars:Å BILL.!

Nytt album ute 16. mars!

Bill. kr. 270,-. 18 år leg.

Fredag 24. februar:

NICO D

TALIB KWELI

Supp.: BOW TO EACH OTHER Nytt album ute 16. mars!

Bill. kr. 175,-

(S)

Ons. 22.2:

Supp.: DREAMON Bill. kr. 350,-. 18 år leg.

Susanne Sundfør

Tirs. 21.2:

PING

Kjøpte bill. refunderes ute nå!

“Paralytic Stalks” ute nå!

Fre. 4.5: Bill. kr. 100,Supp.: CHUCK PROPHET på utsalgssted innen 23.5.

Bill. kr. 300,-. 18 år leg.

Supp.: KISHI BASHI Slippfest: Bill. kr.

350,-.

18 år leg.

Bill. kr.

250,-.

18Posten, år leg. www.billettservice.no.

Forsalg på Posten,Forsalg tlf. 815på 33Posten, 133, www.billettservice.no.

Forsalg tlf.

815 på 33 133, tlf. OBS! 815Bill.avg.

33 133, kr 25,-. www.billettservice.no.

OBS! Bill.avg. kr 25,-.

OBS! Bill.avg. kr 25,-.

Fredag 2. mars:

Mannen bak radio-hiten “The A Team”!

Torsdag 22. mars:

LALEH “Sjung” ute nå!

DAGBLADET Bill. kr. 270,-. 18 år leg.

Torsdag 19. april:

Supp.: DUNDERHONNING + IZAKAYA HEARTBEAT

Tors. 3.5:

Bill. kr. 225,-

(US) OGSÅ: playing Nytt album ute 5. mars!

Forsalg på Posten, tlf. 815 33 133, www.billettservice.no.

Forsalg HUSK på OBS! Posten, Bill.avg. kr 25,-. tlf. 815“It’s 33 133, www.billettse a shame about Ray” Bill. kr. 300,-. 18 år leg.

24.2: M83 UTSOLGT! Lør. 5.5: Bill. kr. 150,26.2: WILCO UTSOLGT! WOLVES LIKE US + 29.2, 1.3 og 2.3: UTSOLGT! KOLLWITZ + BOMBUS (S) KAIZERS ORCHESTRA Ons. 23.5: Bill. kr. 125,Releasekonsert: 6.3: FEIST UTSOLGT! 17.3: THÅSTRÖM UTSOLGT! 26.3: RICK ROSS Nytt album ute 17. februar!

Supp.: PASSENGER 1.4: LEON RUSSELL Forsalg: www.rockefeller.no, Posten, Supp.: CORTNEY TIDWELL Sentrum - Oslo (v/Rockefeller) Bill. kr. 225,-, 18 år leg.

Narvesen, 7-Eleven, tlf. 815 33 4.5: Scene TINIE TEMPAH Forsalg på Posten,Forsalg tlf.

815 på 33 133, Forsalg tlf.

815 på 33 133, tlf. OBS! 815Bill.avg.

33 133, kr 25,-. www.billettservice.no.

OBS! Bill.avg. kr 25,-.

OBS! Bill.avg. kr133.

25,-.

Bill. kr.

300,-.

18Posten, år leg. www.billettservice.no.

Bill. kr.

225,-.

18Posten, år leg. www.billettservice.no.

Forsalg: www.rockefeller.no, Posten, Narvesen, NB! Begr. ant. bill. i salg.

Lambchop Farmers Market

BILLIE VAN

NB! OBS! Bill.avg. 18 år leg. på tlf.

33 133, www.billettservice.no.

OBS! Bill.av Forsalg påForsalg Posten,Forsalg tlf.Posten, 815 på 33 Posten, 133,815 www.billettservice.no.

Bill.avg. kr 25,-. tlf. 815 33 133. NB!133, Bill.avg. tlf.7-Eleven, 815 33 www.billettservice.no.

Forsalg påForsalg: Posten, tlf. 815 33Posten, 133,Narvesen, www.billettservice.no.

OBS! og Bill.avg. kr 25,-. www.rockefeller.no, 7-Eleven, tlf. 815 33 133. Gruppebedriftssalg: kontakt post@rockefeller.no / tlf. 22 20 32 32. NB! Bill.avg.

Forsalg på Posten, Forsalg tlf. på Posten, 815 Forsalg 33 133, tlf. på Forsalg 815 Posten, www.billettservice.no.

33 133, på tlf.Forsalg Posten, 815 www.billettservice.no.

33 på 133, tlf.

Forsalg Posten, 815 www.billettservice.no.

OBS!33 Bill.avg. på 133, tlf.

Forsalg Posten, kr815 25,-. www.billettservice.no.

OBS! 33 Bill.avg. på Forsalg 133, tlf.

Posten, kr 815 www.billettservice.no.

25,-.

Forsalg OBS! 33 påtlf.

Bill.avg.

133, Posten, 815 påkrwww.billettservic Posten, 25,-.

OBS! 33tlf.

133, Bill.avg.

815 tlf. www.bi kr33 25,-.

815 OBS! 133 B Fullstendig program og info: www.rockefeller.no

Forsalg på Posten, tlf. 815 33 133, www.billettservice.no.

Forsalg på OBS! Posten, Bill.avg. kr 25,-. tlf. 815 33 133, www.billettse

K S E L F

E P P U D &

Lørdag 18 februar Kl. 16.00

MHOO Kl. 17.00

LUCKY LIPS Kl. 18.00

VIDAR

(S)

MR. ORKESTER Bøyen Beng (Om lange harald

St. Haugen Grünerløkka

Pilestredet

slipper ut av kasjotten)

g1

Møll

n Ri

erga

ta

Design: sporvill@gmail.com

Kl. 19.00

a

ta

Tøyen Ring

Tor vga t

Mø lle

rg a

Gru bb ega t

a

Ring 1

Galle

ri Tip

i

1

Sentrum

Grønland

Akerbrygge

1

CC: 200,- (Bylarm-delegater har fri inngang)

Ring

Bjørvika

Dette skjer bare et stenkast unna Yongstorvet på galleri tipi i bakgårDen til nilz t-skjortetrYkkeri. Youngsgaten 6 broDer knut snurrer virtuelle plater i mellom aktene

www.galleritipi.no E1

8

atwmusic.no

SATURDAY FEB. 18th 2012

INTERVIEW

Foto: istockphoto.com

34

Ingen har alt Ingen har nok opplevelser

FEATURE

SATURDAY FEB. 18th 2011

35

FROM OUR FOREIGN CORRESPONDENT My name is John Doran and I write about music.

John Doran is editor of the acclaimed UK

based music, film and culture website, The Quietus, and a contributor to The Guardian, The Times and more. He’s also one of by:Larm News’ three foreign correspondents this year, offering an international perspective on the event. We asked him to share his thoughts on previous experiences at the festival.

Mr Writer: why don’t you tell it like it is...?

A

nd that, when you think about it, is a pretty strange, if not downright pointless, job for a fully grown man. Why do people even bother lifting a pen about music anymore? It’s an insane thing to do when you think about it. What would have been forgivable decades ago is just dysfunctional now. Back in the 1960s, for example, apart from songs that got played on the radio there were very few ways of actually hearing new music, so having a bunch of hacks with decent powers of description and an ability to classify music by genre was a helpful thing for most people, especially if they could only afford to buy one or two albums per month and had very few options of previewing them.

But now? There’s Spotify, digital radio, You Tube, Last FM, Bandcamp, iTunes, Emusic, Soundcloud, MySpace, Facebook, Mixcloud, blogs, MTV, We7, Vimeo, podcasts, internet radio, shazam, peer to peer file sharing sites (well, there were some when we went to print), online record shops, message boards…

Not only do people not need me to describe an album to them or tell them whether it’s any good or not, most of the time they seem to get to hear it before I do because I’m not very good at anything to do with computers.

So sometimes I wake up and think to myself, “Hey man, good choice of career there. You could have only topped it if you had taken up being a plague doctor, wandering minstrel, penny farthing repair man or the guy who tests the veracity of witches by throwing them into a lake to see if they float.”

The truth of the matter is that I love music and in the absence of any discernible musical talent – I’ve only done karaoke once and during my berserk version of Monkey’s Gone To Heaven an entire coach party, which included three women visibly crying, got up and left the bar – I’m simply happy to be taking part in an international conversation about music with other people who care as much as I do about it. It’s too late in the day and the industry has been too badly compromised (by itself as much as outside agencies) for anyone in my line of work, as pointless as it is, to not act with a clear conscience.

If you’ll allow me a brief moment of shameless self-aggrandizement: I’ve turned down more industry events than I have space to name here. I don’t attend any of the big international conferences in America or the UK, I refuse to pick my hot new bands for the big tipster polls and I won’t be a judge for industry prizes where I’m expected to select from an unsatisfying short list. But if there is one thing that lifts my grumpy and pompous mood each year it’s the knowledge that I can attend by:Larm with clear conscience (I’ve been lucky enough to be asked to come here to work for the last three years) and have an amazing time to boot.

This would all be somehow more bearable if I actually had good taste in music but I don’t. My taste in music sucks. Literally everything about my record collection screams at full volume: this guy got bullied at school for liking Adam And The Ants and now he is taking revenge on the world by forcing them to listen to stuff they patently don’t like. My flat is packed full of albums that are avant garde (unlistenable racket in strange time signatures); extreme metal (unlistenable racket played on guitars); electronica (unlistenable racket played on synthesizers); minimal techno (unlistenable racket where nothing happens); and free jazz (unlistenable racket made up on the spot).

Nothing makes me happier than listening to what sounds like a microphone being pushed into a food blender and then run through a distortion pedal.

But I came to my job relatively late in life, so perhaps I have a different outlook than most. Drink and drugs prevented me from doing pretty much anything before the age of 33. Apart from drinking and taking drugs that is. But then in 2002 I got drunk in a pub and described in great detail how I’d like to kill all of Coldplay after showing them photographs of their pets being tortured. A

The rest of the world should

HAIRDRESSED TO KILL: John Doran and editor Hilde Holta-Lysell at last years party for the by:Larm NEWS staff.

man listening offered me the job of News Editor on a new music magazine. I celebrated becoming a music journalist by drinking a lot more then sleeping in a park with a pizza pulled up to my chin like a particularly impractical, circular and cheese enhanced blanket. This would set the tone for my first few years describing popular music.

writers to behave truthfully and honourably and to work their fucking arses off, doing whatever they can to support worthwhile, enjoyable and captivating music, whether there’s money or glory in it or not. It took me that long to understand that spotting ‘the next big thing’ was an irrelevance and that writers who thought otherwise were often little more than an extension of the advertising arm of the music industry. Even a half-hearted

It took me about ten minutes at the job to realise that music journalism meant exactly nothing and had no tangible benefit to society whatsoever. It took me about another two or three years to realize that this is exactly why the onus is on music

teacher probably improves the lives of several hundred children over their entire career. The law of averages says that the dude who throws witches into the lake is eventually going to get a few right by sheer fluke.

look to Oslo for some pointers on how this stuff should be done. Which other conference would have bands such as Agnes Obel, Rockettothesky, Jaga Jazzist, Wardruna, Ane Brun, Iceage, Arabrot, Easy & Toshybot, Shining, Deathcrush, Mayhem, 1349, Svarte Greiner, Ulver, Frisk Frugt, Altaar, Manhattan Skyline playing? If you know, drop me a line because I’d like to attend. It is the astounding line ups of bands both big and small as well as the killer seminars that by:Larm puts together that brings me here, not the chance to schmooze or stick my nose in the trough.

Like I said, it’s a completely stupid, redundant, laughable job, but someone’s got to do it and during by:Larm, I’m very, very pleased it’s me.

John Doran.

36

SATURDAY FEB. 18th 2012

NEWS

SMELLS LIKE TEAM SPIRIT

Norwegian indie heroes could become overnight millionaires.

TEXT: TOBBEN ÅRSLAND PHOTO: ATLE RICHTER SCHIE

STATOIL GRANT 2012, SATURDAY, 19:00, FOLKETEATERET

T

here’s a long way from Elverum to Tokyo. Or at least it was a long way, before we had the internet. Marius Hagen’s private little side project Team Me exploded into cyberspace, forcing him to get a band together and tour the world.

Tonight the band may be one million Norwegian kroner richer, when the winner of the Statoil Grant 2012 is announced.

SURPRISE! ‘It’s been two wild years. One cool thing happens, and then “WOW!” - another cool thing happens! It just doesn’t seem to stop’,

explains the still down to earth front man Marius. Having played in various bands previously, he had no idea what was about to happen when he uploaded his songs to Urørt, a Norwegian website where young artists share their music for free. The project was picked to play at the Urørt finale in January 2010, so he quickly had to assemble a band. Except for not winning the competition, everything has gone uphill since then.

Are you surprised to be among tonight’s nominees? ’Yes, indeed. At the same time, though, I feel that we would be worthy winners.

I wanted to apply last year as well, but then we were still fresh to the scene. Now, however, we are playing more abroad than we do in Norway. But the other nominees are extremely talented, so the competition is tough.’

The money will come in handy, as Team Me are fully booked until September. The six band members all are dependent on part-time jobs, so a Statoil Grant would make it easier to first and foremost be musicians.

‘We are doing a tour of Norway now, but we have to break it up and do it from Thursdays to Saturdays. Monday till Wednesday we do our regular jobs back home. Two European tours are booked, and we’re also doing the US and Japan. Then comes the summer festivals,’ Marius says.

ELIDAS DEBUT The band had its first blow when Synne Øverland Knudsen decided to quit the band earlier this year, due to political reasons.

In a press release, Team Me stated that they were sad to see her go, but they respected her opinions. Marius tells us Synne has recently been replaced:

‘Elida Inman has joined us on a permanent basis, and she made her debut Thursday night at the Blåfrost festival at Rognan.’

Marius admits it’s hard to grasp everything that has happened these last two years.

Since the band started doing live shows and releasing singles, they have quickly gained attention. The Team Me EP was released early 2011 by Propeller Recordings to great reviews. It peaked at # 92 on the American CMJ top 200. During the last year they have played all over the place, like at The Great Escape in Brighton, Club NME in London, the Spot festival in Denmark and numerous festivals in Norway. They’ve also supported The Wombats and British Sea Power on tours in the UK and Norway. Their debut album To the Treetops recently earned them a Spellemannspris, a Norwegian Grammy, for best pop group 2011.

INTERVIEW

SATURDAY FEB. 18th 2012

Trenger din scene PA, lys eller backline?

Over 150 spillesteder og konsertarrangører over hele landet har mottatt fremføringsutstyr fra Musikkutstyrsordningen.

Musikkutstyrsordningen gir også tilskudd till utbedring og bygging av øvingslokaler, musikkbinger, akustiske tiltak og øvingsutstyr.

Vil dere bli de neste?

Vi har søknadsfrist 1. mars og 1. september.

musikkutstyrsordningen er den nasjonale tilskuddsordningen for teknisk utstyr, akustikk og lokaler.

Les mer på våre hjemmesider eller kom innom vår stand under by:Larm. www.musikkutstyrsordningen.no Gode musikkopplevelser hver dag!

37

SATURDAY FEB. 18th 2012

INTERVIEW

«Når jeg er medlem i GramArt slipper jeg å betale 10 % i administrasjonsgebyr hos Gramo.

Det er penger spart hvert år!»

Hanne Sørvaag

Foto: Ole Martin Halvorsen

38

GramArt er landets største interesseorganisasjon for norske artister og har i dag omtrent 4000 medlemmer innen alle sjangre fra hele landet. GramArt taler artistenes sak i den offentlige debatten og jobber kontinuerlig for å bedre betingelsene for deg som er artist.

For kun 450 kr i året får du tilgang til juridisk hjelp, bransjens beste instrumentforsikring, hjelp med generelle spørsmål, samt en rekke andre gode medlemsfordeler.

Meld deg inn i GramArt i dag!

www.gramart.no

INTERVIEW

SATURDAY FEB. 18th 2012

ADVERT 39 TIBE T:rubadur

Stå støtt i en bransje som svinger Rock City har et tilbud til både nye og etablerte artister og andre som jobber med musikk.

Våre kurs og utdanningstilbud spenner fra låtskriving og scenerigg til kulturelt entreprenørskap og arrangementsledelse. Vi har en rådgivningstjeneste som retter seg både mot næringsliv og artister.

Det er nok av snubletråder i musikkbransjen. Du trenger ikke gå i alle.

www.rockcity.no

#BYLARMNEWS ROUNDUP OF AUDIENCE - SUBMITTED PICTURES

Live schedule Saturday 18th Scene

> 19

20

Med forbehold om endringer. For oppdatert program, sjekk bylarm.no

21

22

Last Train Victoria/ Nasjonal Jazzscene Jaeger

00

:00 Monica Heldal (N)

:00 Daniel Norgren (S)

Bugge Wesseltoft presents: :30 Moskus (N)

Bugge Wesseltoft presents: :30 Machine Birds (N)

Bugge Wesseltoft presents: :30 PELbO (N) :00 Lemaître (N)

01 >

:00 Renaissance Man (FI)

:00 Bloksberg (N)

Gamla

:00 Bendik Brænne (N)

:00 Ask Embla (N/S)

:00 Sirkus Eliassen (N)

:00 Hålogalandslaget (N)

01:00 LidoLido (N)

Stratos

:30 Lumeet (FI)

:30 AutoLaser (N)

:30 Carl Louis & Martin Danielle (N)

:30 Charlotte Thorstvedt (N)

01:30 Renaissance Man (FI)

:00 I Got You On Tape (DK)

:00 I Am Sound (N)

:00 Masquer (S)

:00 Scarlet Chives (DK)

:00 Hedvig Mollestad Trio (N)

:30 Andrea Dahle (N)

:30 Sisi (N)

:30 Mira Craig (N)

:30 Mikhael Paskalev (N)

:30 Souldrop (N)

01:30 Den Svenska Björnstammen (S) 02:30 Rebecca & Fiona (S)

The NOKIA-TENT annex

:00 Yngve & His Boogie Legs (N)

:00 Prinspóló (IS)

:00 Kaveh (N)

:00 Husky Rescue (FI)

01:00 I got you on Tape (DK) 02:00 Reptile Youth (DK)

Sentrum Scene

Dagbladet presents: :00 Astaroth (N)

Dagbladet presents: :00 Execration (N)

Dagbladet presents: :00 Årabrot (N)

Dagbladet presents: :00 Nekromantheon (N)

Dagbladet presents: 01:00 Mayhem (N)

John Dee

:00 Gerilja (N)

:00 Zoom tour 2012: Casual Friday (N)

:00 Zoom tour 2012: Slim-B & Horvei the Greatness (N)

:00 Pirate Love (N)

01:00 Maribel (N)

:30 Kitchie Kitchie Ki Me O (N)

Mono

:00 Rebecca & Fiona (S)

23

18.00: Sóley (IS)

The NOKIA-TENT

Rockefeller

:30 Rubik (FI)

:30 Eye Emma Jedi (N)

:30 Sondre Lerche (N)

:30 Mirror Lakes (N)

Rockefeller annex

:00 Beaten to Death (N)

:00 Overthrow (N)

:00 Little Majorette (S)

:00 Maya Vik (N)

:00 Dark Times (N)

:00 Helgi Jonsson (IS)

:00 Cody (DK)

:00 Linnea Dale (N)

:00 Skadne Krek (N)

:00 SynKoke (N)

Revolver

:30 Jabba The Butt (N)

:30 Staer (N)

Fonal label night: :30 Jarse (FI)

Fonal label night: :30 Tuusanuuskat (FI)

Fonal label night: :30 Barry Andrewsin Disko (FI)

KULTURKIRKEN JaKob

ENO magazine presents: :00 Saturday City (N)

ENO magazine presents: :00 Møster! (N)

ENO magazine presents: :00 Hymns From Nineveh (N)

ENO magazine presents: :00 Anna Järvinen (S)

ENO magazine presents: :00 Bigbang (N)

THE CrossRoad Club

:30 Eirin Kinn (N)

:30 Thom Hell (N)

:30 El Doom & The Born Electric (N)

:30 Mugison (IS)

:30 The Amazing (S)

Dattera til Hagen

:00 Andre Holstad (N)

:00 Mmm (N)

:00 Ignug (DK)

Gloria Flames

:30 Beglomeg (N)

:30 Simian Ghost (S)

:30 The New Tigers (FI)

:30 Simen Tangen (N)

:30 Hanne Kolstø (N)

Herr Nilsen/ ØSTKANTEN BLUESKLUBB

Sub Scene

19.00 Østkanten Bluesklubb’s vorspiel: Heidi Solheim (N)

18:30 The Avalanche (N) 19:30 Highasakite (N)

:30 Bendik (N)

Seminar schedule Saturday 18th 12.00–13.30: Todd Rundgren Q&A, Interviewer: Audun Vinger 14.15–15.15: Dag Häggqvist, intervju med en skandinavisk musikkbransjebauta Intervjuer: Kai Lofthus 15.30–16.30: Piratliv - en prat med Anders Odden, Intervjuer: Svein Bjørge

Folketeateret 19.00: Ida Maria (N) 19.30: Statoil Grant Ceremony 20.00: Ingrid Olava (N) 21.00: Mathias Eick (N) 22.00: Kvelertak (N)

Sunkissed:live @ Blå (Adr.: Brenneriveien 9) 22.30: Carmen Villain 23.20: Punani SS 00:10: 120 Days 01:20: Lindstrøm 02:10: g-HA & Olanskii